MOTU USB MIDI Interface User Guide Mac

User Guide
MIDI Express XT MIDI Express 128 micro express micro lite
1280 Massachusetts Avenue Cambridge, MA 02138 Business voice: (617) 576-2760 Business fax: (617) 576-3609 Tech support fax: (617) 354-3068 Tech support email: techsupport@motu.com Web site: http://www.motu.com
Mark of the Unicorn, Inc.
SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS

WARNING:TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR OTHER MOISTURE. CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. WARNING: DO NOT PERMIT FINGERS TO TOUCH THE TERMINALS OF PLUGS WHEN INSTALLING OR REMOVING THE PLUG TO OR FROM THE OUTLET. WARNING: IF NOT PROPERLY GROUNDED THE MOTU USB MIDI interface COULD CAUSE AN ELECTRICAL SHOCK. The MOTU USB MIDI interface is equipped with a three-conductor cord and grounding type plug which has a grounding prong, approved by Underwriters' Laboratories and the Canadian Standards Association. This plug requires a mating three-conductor grounded type outlet as shown in Figure A below. If the outlet you are planning to use for the MOTU USB MIDI interface is of the two prong type, DO NOT REMOVE OR ALTER THE GROUNDING PRONG IN ANY MANNER. Use an adapter as shown below and always connect the grounding lug to a known ground. It is recommended that you have a qualied electrician replace the TWO prong outlet with a properly grounded THREE prong outlet. An adapter as illustrated below in Figure B is available for connecting plugs to two-prong receptacles. WARNING: THE GREEN GROUNDING LUG EXTENDING FROM THE ADAPTER MUST BE CONNECTED TO A PERMANENT GROUND SUCH AS TO A PROPERLY GROUNDED OUTLET BOX. NOT ALL OUTLET BOXES ARE PROPERLY GROUNDED. If you are not sure that your outlet box is properly grounded, have it checked by a qualied electrician. NOTE: The adapter illustrated is for use only if you already have a properly grounded two-prong receptacle. Adapter is not allowed in Canada by the Canadian Electrical Code. Use only three wire extension cords which have three-prong grounding type plugs and three-prong receptacles which will accept the MOTU USB MIDI interface plug. IMPORTANT SAFEGUARDS 1. Read instructions - All the safety and operating instructions should be read before operating the MOTU USB MIDI interface. 2. Retain instructions - The safety instructions and owner's manual should be retained for future reference. 3. Heed Warnings - All warnings on the MOTU USB MIDI interface and in the owner's manual should be adhered to. 4. Follow Instructions - All operating and use instructions should be followed. 5. Cleaning - Unplug the MOTU USB MIDI interface from the computer before cleaning and use a damp cloth. Do not use liquid or aerosol cleaners. 6. Overloading - Do not overload wall outlets and extension cords as this can result in a risk of re or electrical shock. 7. Power Sources - This MOTU USB MIDI interface should be operated only from the type of power source indicated on the marking label. If you are not sure of the type of power supply to your location, consult your local power company. 8. Power-Cord Protection - Power-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them. Pay particular attention to cords and plugs, convenience receptacles, and the point where they exit from the MOTU USB MIDI interface. 9. Lightning - For added protection for the MOTU USB MIDI interface during a lightning storm, unplug it from the wall outlet.This will prevent damage to the MOTU USB MIDI interface due to lightning and power line surges. 10. Servicing - Do not attempt to service this MOTU USB MIDI interface yourself as opening or removing covers will expose you to dangerous voltage and other hazards. Refer all servicing to qualied service personnel. 11. Damage Requiring Service - Unplug the MOTU USB MIDI interface from the computer and refer servicing to qualied service personnel under the following conditions. a. When the power supply cord or plug is damaged. b. If liquid has been spilled or objects have fallen into the MOTU USB MIDI interface. c. If the MOTU USB MIDI interface has been exposed to rain or water. d. If the MOTU USB MIDI interface does not operate normally by following the operating instructions in the owner's manual. e. If the MOTU USB MIDI interface has been dropped or the cabinet has been damaged. f. When the MOTU USB MIDI interface exhibits a distinct change in performance, this indicates a need for service.
12. Replacement Parts - When replacement parts are required, be sure the service technician has used replacement parts specied by the manufacturer or have the same characteristics as the original part. Unauthorized substitutions may result in re, electric shock or other hazards. 13. Safety Check - Upon completion of any service or repairs to this MOTU USB MIDI interface, ask the service technician to perform safety checks to determine that the product is in safe operating conditions. ENVIRONMENT Operating Temperature: 10C to 40C (50F to 104) AVOID THE HAZARDS OF ELECTRICAL SHOCK AND FIRE Do not handle the power cord with wet hands. Do not pull on the power cord when disconnecting it from an AC wall outlet. Grasp it by the plug. INPUT Line Voltage: 100 - 120 volts AC, RMS (US and Japan) or 220 - 250 volts AC, RMS (Europe). Frequency: 47 - 63 Hz single phase. Power: 7 watts maximum. CAUTION: DANGER OF EXPLOSION IF BATTERY IS REPLACED. REPLACE ONLY WITH THE SAME OR EQUIVALENT TYPE RECOMMENDED BYMANUFACTURER. DISPOSE OF USED BATTERY ACCORDING TO MANUFACTURERS INSTRUCTIONS.
Figure A
3-prong plug Grounding prong Properly grounded 3-prong outlet
Figure B Grounding lug Screw Make sure this is connected to a known ground.
3-prong plug
Two-prong receptacle Adapter
Mark of the Unicorn License Agreement and Limited Warranty on Software

TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all the terms and conditions of this agreement before using this software package. Using this software package indicates your acceptance of the terms and conditions of this license agreement. Mark of the Unicorn, Inc. (MOTU) owns both this program and its documentation. Both the program and the documentation are protected under applicable copyright laws.Your right to use the program and the documentation are limited to the terms and conditions described herein.
Limited Warranty on Hardware

Mark of the Unicorn, Inc. and S&S Research (MOTU/S&S) warrant this equipment against defects in materials and workmanship for a period of NINETY (90) DAYS from the date of original retail purchase.This warranty applies only to hardware products; MOTU software is licensed and warranted pursuant to separate written statements. If you discover a defect, rst write or call Mark of the Unicorn at (617) 576-2760 to obtain a Return Merchandise Authorization Number. No service will be performed on any product returned without prior authorization. MOTU will, at its option, repair or replace the product at no charge to you, provided you return it during the warranty period, with transportation charges prepaid, to Mark of the Unicorn, Inc., 1280 Massachusetts Avenue, MA 02138.You must use the products original packing material for in shipment, and insure the shipment for the value of the product. Please include your name, address, telephone number, a description of the problem, and the original, dated bill of sale with the returned unit and print the Return Merchandise Authorization Number on the outside of the box below the shipping address. This warranty does not apply if the equipment has been damaged by accident, abuse, misuse, or misapplication; has been modied without the written permission of MOTU, or if the product serial number has been removed or defaced. ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE LIMITED IN DURATION TO NINETY (90) DAYS FROM THE DATE OF THE ORIGINAL RETAIL PURCHASE OF THIS PRODUCT. THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE AND IN LIEU OF ALL OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED. No MOTU/S&S dealer, agent, or employee is authorized to make any modication, extension, or addition to this warranty. MOTU/S&S ARE NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF WARRANTY, OR UNDER ANY LEGAL THEORY, INCLUDING LOST PROFITS, DOWNTIME, GOODWILL, DAMAGE OR REPLACEMENT OF EQUIPMENT AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH MOTU/S&S PRODUCTS. Some states do not allow the exclusion or limitation of implied warranties or liability for incidental or consequential damages, so the above limitation or exclusion may not apply to you.This warranty gives you specic legal rights, and you may have other rights which vary from state to state. MIDI Timepiece, MIDI Express, micro express, ClockWorks and Mark of the Unicorn are trademarks of Mark of the Unicorn, Inc.
License
YOU MAY: (a) use the enclosed program on a single computer; (b) physically transfer the program from one computer to another provided that the program is used on only one computer at a time and that you remove any copies of the program from the computer from which the program is being transferred; (c) make copies of the program solely for backup purposes.You must reproduce and include the copyright notice on a label on any backup copy. YOU MAY NOT: (a) distribute copies of the program or the documentation to others; (b) rent, lease or grant sublicenses or other rights to the program; (c) provide use of the program in a computer service business, network, time-sharing, multiple CPU or multiple user arrangement without the prior written consent of MOTU; (d) translate or otherwise alter the program or related documentation without the prior written consent of MOTU.
Term
Your license to use the program and documentation will automatically terminate if you fail to comply with the terms of this Agreement. If this license is terminated you agree to destroy all copies of the program and documentation.
Limited Warranty
MOTU warrants to the original licensee that the disk(s) on which the program is recorded be free from defects in materials and workmanship under normal use for a period of ninety (90) days from the date of purchase as evidenced by a copy of your receipt. If failure of the disk has resulted from accident, abuse or misapplication of the product, then MOTU shall have no responsibility to replace the disk(s) under this Limited Warranty. THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF, AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH EXPRESS AND IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE LIABILITY OF MOTU PURSUANT TO THIS LIMITED WARRANTY SHALL BE LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND IN NO EVENT SHALL MOTU BE LIABLE FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, INCLUDING BUT NOT LIMITED TO LOSS OF USE, LOSS OF PROFITS, LOSS OF DATA OR DATA BEING RENDERED INACCURATE, OR LOSSES SUSTAINED BY THIRD PARTIES EVEN IF MOTU HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS WHICH MAY VARY FROM STATE TO STATE. SOME STATES DO NOT ALLOW THE LIMITATION OR EXCLUSION OF LIABILITY FOR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU.
Update Policy
In order to be eligible to obtain updates of the program, you must complete and return the attached Mark of the Unicorn Purchaser Registration Card to MOTU.
General
This License Agreement shall be governed by the laws of the Commonwealth of Massachusetts and shall inure to the benet of MOTU, its successors, administrators, heirs and assigns.
This equipment has been type tested and found to comply with the limits for a class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause interference to radio or television equipment reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by any combination of the following measures: Relocate or reorient the receiving antenna Increase the separation between the equipment and the receiver Plug the equipment into an outlet on a circuit different from that to which the receiver is connected If necessary, you can consult a dealer or experienced radio/television technician for additional assistance. PLEASE NOTE: only equipment certied to comply with Class B (computer input/output devices, terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface cables in order to comply with the Class B FCC limits on RF emissions. WARNING: changes or modications to this unit not expressly approved by the party responsible for compliance could void the user's authority to operate the equipment.
Copyright Notice
Copyright 2003 by Mark of the Unicorn, Inc. All rights reserved. No part of this publication may be reproduced, transmitted, transcribed, stored in a retrieval system, or translated into any human or computer language, in any form or by any means whatsoever, without express written permission of Mark of the Unicorn, Inc., 1280 Massachusetts Avenue, Cambridge, MA, 02138, U.S.A.
Contents
Part I: For All Users
7 9 17 25
Packing List and Computer Requirements Installing Your MOTU Interface Installing the MOTU USB MIDI Software Using MIDI Software
Part II: For XT & micro Users

29 53 107 113 123
ClockWorks For Mac OS X ClockWorks for Mac OS 9 Front Panel Presets Synchronization MIDI Machine Control
Part III: Appendices

133 139 147 151 161
Glossary SMPTE Synchronization Basics Troubleshooting and Customer Support FreeMIDI and OMS Index
All Users
Part I For All Users
CHAPTER 1
Packing List and Computer Requirements

THANK YOU FOR CHOOSING MOTU

Thank you for purchasing a MOTU USB MIDI interface. Please read the important information in this chapter before using it.
MOTU USB MIDI Interface Power cord USB cable CD with software drivers Manual Product registration card
PLEASE REGISTER TODAY

Please send in the registration card included with your MOTU MIDI interface. As a registered user, you will be eligible to receive on-line technical support email and announcements about product enhancements as soon as they become available. Only registered users receive these special update notices, so please, complete and mail this registration card! Thank you for taking the time to register your new MOTU product!
MIDI CABLES NOT INCLUDED

To connect each of your MIDI devices to your MOTU MIDI interface, you need MIDI cables, purchased separately. Talk to your music dealer to decide how many you need.
COMPUTER REQUIREMENTS
Your MOTU MIDI interface will run with any USBequipped Macintosh running Mac OS 8.6, Mac OS 9, or Mac OS X (10.2 or later). If you are attempting to use your MOTU USB interface with an older Macintosh model equipped with a USB adaptor card, contact MOTU for compatibility.
PACKING LIST
Your MOTU USB MIDI Interface is shipped with the items listed below. If any of these items are not present when you rst open the box, please immediately contact your dealer or MOTU.
MIDI SOFTWARE COMPATIBILITY

Your MOTU USB MIDI Interface will work with the following kinds of MIDI software:

VISIT MOTU.COM FOR SOFTWARE UPDATES

Driver updates are posted on our web site as soon as they become available, so check our web site for the latest drivers: www.motu.com
All MOTU software products All Mac OS 9 FreeMIDI-compatible software All Mac OS 9 OMS-compatible software All Mac OS X MIDI software
GETTING STARTED
Follow the directions in the next few chapters of this guide to successfully install and begin using your new MOTU USB MIDI interface.
FAMILIARITY WITH YOUR COMPUTER

This manual assumes that your are familiar with using your computer. If not, please review your computers user guide before proceeding.
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PACKING LIST AND COMPUTER REQUIREMENTS
CHAPTER 2
OVERVIEW
Installing Your MOTU Interface

Mac to communicate with all MIDI devices connected to your MOTU MIDI interface. If you have several MOTU interfaces, see Connecting multiple USB interfaces on page 15.
The at,Type A USB plug connects to the computer.
Connecting the power cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Connecting the computer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Connecting MIDI gear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 MIDI connections worksheet. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 SMPTE Time Code sync connections . . . . . . . . . . . . . . . . . . . . . . . . . 12 Connecting a foot switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Connecting an audio click source . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Connecting multiple USB interfaces. . . . . . . . . . . . . . . . . . . . . . . . . . 15
CONNECTING THE POWER CORD

Plug the power cord into your MOTU MIDI Interface and then plug the other end into a grounded power outlet. We recommend that you leave the interface switched off while making cable connections during installation.
You can use any available Type A jack.
CONNECTING THE COMPUTER

First, make sure that the interfaces power switch is turned off. Using the USB cable included with your MOTU MIDI interface, put the Type A plug into a Type A USB jack on the computer, the USB computer keyboard, a USB hub, or any other USB device connected to the computer that has an available Type A USB jack. The USB cable allows the
Figure 2-1: You can plug the Type A connector directly into the computer itself, a USB keyboard connected to the computer, or any other USB device already connected to the computer that has an available Type A USB jack.
Figure 2-2: The square Type B plug goes into your MOTU interface.
CONNECTING MIDI GEAR

Connect each MIDI devices MIDI IN jack to a MIDI OUT jack on your MOTU MIDI interface as shown by Connection A below. Conversely, connect the MIDI OUT jack on the MIDI device to one of the MIDI IN jacks on your MOTU MIDI interface as shown by Connection B.
MOTU MIDI interface rear panel MIDI OUT MIDI cables Connection A MIDI Device MIDI MIDI IN OUT Connection B MIDI IN
One-way MIDI connections MIDI devices that do not receive MIDI data, such as a dedicated keyboard controller, guitar controller, or drum pad, only need Connection B shown in Figure 2-3. Similarly, devices that never send data, such as a sound module, only need Connection A. However, if you plan to use editor/librarian software with the sound module, or if you need to get system exclusive bulk dumps from it, make both connections. In general, make both connections for any device that needs to both send and receive MIDI data.
MOTU MIDI interfaces do not require that you use the same numbered MIDI IN and MIDI OUT for each device, but experience shows that your system will be easier to work with if you do.
Figure 2-3: Connecting a MIDI device to your MOTU MIDI interface. If you are connecting a sound module or other device that does not need to transmit MIDI data, you only need to make connection A shown above. Conversely, if the device is a MIDI controller such as a drum pad or guitar controller, you only need to make Connection B.
Connecting additional gear with MIDI THRUs If you use up all of the MIDI OUTs on your MOTU MIDI interface, and you still have more gear to connect, run a MIDI cable from the MIDI THRU of a device already connected to the interface to the MIDI IN on the additional device as shown below in Figure 2-4. The two devices then share the same MIDI OUT port on the MIDI
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INSTALLING YOUR MOTU INTERFACE
interface. This means that they share the same set of 16 MIDI channels, so try to do this with devices that receive on only one MIDI channel (such as effects modules) so their receive channels dont conict with one another.
MIDI CONNECTIONS WORKSHEET

Heres a suggestion. If you have more than a few pieces of gear connected to your MOTU MIDI interface, jot down which device is connected to each input and output in the worksheet below. Later on, youll enter this information into your software so you can refer to devices by name.
MIDI IN 1 MIDI OUT 1 2 3 4 5 6 7 8
MOTU MIDI interface rear panel
MIDI OUT MIDI IN
2 3 4
MIDI THRU MIDI cable
MIDI Device
5 6
MIDI IN
7
Additional device
8
Figure 2-4: Connecting additional devices with MIDI THRU ports.
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SMPTE TIME CODE SYNC CONNECTIONS

Your MOTU MIDI interface is both a SMPTE time code converter and generator. As a converter, it locks (slaves) to incoming longitudinal SMPTE time code (LTC) and converts it to MIDI Time Code (MTC) and reshaped LTC. As a generator, it produces both LTC and MTC time code, either running under its own internal clock or while slaved to external time code (or other time base). When making the SMPTE time code connections described in the following sections, do not pass the signal through any type of signal processing equipment. Use shielded quarter-inch audio cables. For a complete explanation of synchronization, see chapter 8, Synchronization (page 113).
Connecting a SMPTE time code source Connect any SMPTE time code source, such as the SMPTE timecode track on an analog multitrack tape deck, to the SMPTE IN port on your MOTU MIDI interface as shown in Figure 2-5. (For information about recording time code tracks, see Striping SMPTE on page 118.)
Analog audio tape recorder
Video tape recorder
Examples of a SMPTE time code source Audio or SMPTE out Shielded, quarter-inch audio cable
MOTU MIDI Interface SMPTE IN
Figure 2-5: Connecting a SMPTE time code source.
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Connecting a SMPTE time code destination Connect the SMPTE OUT port of your MOTU MIDI interface to the SMPTE time code input of any destination device that accepts SMPTE time code as shown in Figure 2-6. For example, time code can be recorded on an outside track of a multitrack tape recorder so that everything can subsequently be synchronized to the multitrack. Other examples of a SMPTE time code destination are systems that have the ability to slave to SMPTE time code, such as stand-alone hard disk recording systems, digital audio workstations, or automated mixing consoles.
MOTU MIDI Interface SMPTE OUT
Shielded, quarter-inch audio cable
SMPTE or Audio in Examples of a SMPTE time code destinations Analog audio tape recorder Video tape recorder
Figure 2-6: Connecting a SMPTE time code destination.
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CONNECTING A FOOT SWITCH

If you would like to use a foot switch with your MOTU MIDI interface, connect it as shown below in Figure 2-7. For more information about how a pedal input can be used, see The Pedal tab on page 48 (or, for Mac OS 9 users, see Working with a Foot Pedal on page 97).
CONNECTING AN AUDIO CLICK SOURCE

If you would like to convert an audio click to MIDI, connect the audio click source to the Pedal input as using a shielded, quarter-inch audio cable as shown below in Figure 2-8. For more information about converting an audio tempo source (such as a click, bass drum, tape deck signal, or other audio tempo source) to MIDI, see Using an audio click as a tempo source on page 49 (or, for Mac OS 9 users see Converting an audio click to MIDI on page 103).
Figure 2-7: Connecting a foot switch or foot pedal.
Drum machine
Click track Examples of audio click sources Shielded quarter-inch audio cable
Figure 2-8: Connecting an audio click input.
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CONNECTING MULTIPLE USB INTERFACES

The USB (Universal Serial Bus) specication allows you to connect multiple MOTU interfaces to a single computer. You can mix and match any combination of MOTU USB interfaces to suit your needs.
The at,Type A USB plug on the USB cable from each MOTU interface connects to the USB hub.
Standard USB Hub
USB cables
The USB (Universal Serial Bus) specication allows many USB devices theoretically up to 127 to be connected to a single computer. However, many USB devices, including all MOTU USB interfaces, reserve USB bandwidth, so the theoretical and practical limits for MOTU interfaces are considerably fewer. In theory, the maximum number of MOTU USB interfaces you can connect to one computer is just over 30 interfaces. Practically speaking, regardless of how slow or fast your USB-equipped computer is, you should be able to connect upwards of 10 or more MOTU USB MIDI interfaces to the computer and still enjoy just as much performance from each one as if it were the only one connected. Just dont try to run your USB scanner or digital camera while playing back and recording MIDI! For further details about USB, visit www.usb.org. To connect multiple MOTU interfaces to a computer, youll need an inexpensive device called a USB Hub (purchased separately from your computer peripherals dealer). A USB Hub has multiple Type A ports on it, usually between 4 and 7 ports, to which you connect
Figure 2-9: An inexpensive, standard USB hub allows you to connect multiple MOTU USB MIDI interfaces. You can even mix and match different models of MOTU interfaces, using the combination that best suites your needs for synchronization, number of MIDI ports, etc.
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multiple USB MIDI interfaces as shown in Figure 2-9. Connect them to the hub in the standard fashion, as if you were connecting them directly to the computer. If needed, you can connect multiple hubs to each other to get enough USB ports for your multiple MOTU USB interfaces.
WHAT NEXT?
Youre ready to install software. Turn to chapter 3, Installing the MOTU USB MIDI Software (page 17).
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CHAPTER 3
OVERVIEW
Installing the MOTU USB MIDI Software

CoreMIDI and Audio MIDI Setup CoreMIDI is the under-the-hood portion of Mac OS X that handles MIDI services for MIDI hardware and software. CoreMIDI provides many universal MIDI system management features, including MIDI communication between your MOTU USB MIDI interface and all CoreMIDI compatible software. Audio MIDI Setup is a utility included with Mac OS X that allows you to congure your MOTU USB MIDI interface for use with all CoreMIDI compatible applications. Audio MIDI Setup provides: A virtual studio on your Mac that graphically represents your MIDI hardware setup and that is shared by all CoreMIDI-compatible programs
A simple, intuitive list of your MIDI devices whenever you need it in any CoreMIDI-compatible program
Software installation for mac OS X . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Software installation for Mac OS 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Daisy-chaining MIDI devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Where to go next. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
SOFTWARE INSTALLATION FOR MAC OS X

Your MOTU interface requires several software drivers. It also includes ClockWorks, a setup program that gives you convenient access to your MOTU interfaces numerous features. Install all of this software as follows: 1 Insert the MOTU USB MIDI installer disc and launch the installer. 2 Follow the directions that the installer gives you. What does the installer do? The installer checks the computer to make sure it satises the minimum system requirements for your MOTU interface. If so, the installer proceeds with the installation: drivers are installed and the ClockWorks utility is installed in the Applications folder.
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Launching Audio MIDI Setup 1 Make sure your MOTU MIDI interface is connected and turned on. 2 Launch the Audio MIDI Setup utility. This can usually be found in /Applications/Utilities. If it has been moved, just search for Audio MIDI Setup. 3 Conrm that the MIDI interface is present in the MIDI Devices tab of Audio MIDI Setup. If the interfaces does not appear, or if it is grayed out, check your cable connections and click Rescan MIDI.
Creating a MIDI conguration Once your MOTU USB MIDI interface appears in Audio MIDI Setup, you are ready to add devices, indicate how they are connected, and identify properties they may have for particular purposes. This information is shared with all CoreMIDI compatible applications. Adding devices in Audio MIDI Setup To add a device in Audio MIDI Setup: 1 Click Add Device.
Figure 3-1: In this example, a MOTU MIDI Express XT interface as it appears in the MIDI tab of Audio MIDI Setup.
Figure 3-2: Adding a MIDI device.
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INSTALLING THE MOTU USB MIDI SOFTWARE
2 Drag on its input and output arrows to draw connections to the MIDI interface that match its physical connection.
Figure 3-4: Device settings.
Figure 3-3: Connecting the device to the interface.
4 Repeat the above steps for each MIDI device connected to the interface. 5 When you are nished, quit Audio MIDI Setup.
3 Double-click the device to make settings, such as input and output channels, that further describe the device.
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Your conguration is automatically saved as the default conguration, and it is shared with all CoreMIDIcompatible software. You can use the Conguration menu to create, duplicate or delete alternative congurations.
2 Insert the MOTU USB MIDI CD-ROM and run the installer. The installer is the icon called Double-click to install. Just follow the directions that the installer gives you. If the installer asks you about something called OMS, it means that you have OMS installed in your system, and you need to decide whether to use OMS or FreeMIDI for MIDI communication with your MOTU interface. See Appendix D, FreeMIDI and OMS page (151). What does the installer do? The installer checks the computer to make sure it meets the minimum system requirements for your MOTU interface. If so, the installer creates a Folder on the hard disk containing ClockWorks, the control software for your MOTU interface. The installer also adds MOTUs FreeMIDI system extension to your Macintosh System Folder. ClockWorks requires FreeMIDI. Even though the installer does everything for you, it may be useful for you to know what les are installed and where they go. The following table provides a summary of the
SOFTWARE INSTALLATION FOR MAC OS 9

Your MOTU interface requires several software drivers. It also includes ClockWorks, a setup program that gives you convenient access to your MOTU interfaces numerous features. Install all of this software as follows: 1 Temporarily disable all system Extensions, including virus protection utilities, before you begin. These utilities can interfere with installation. You can temporarily disable them by restarting the computer and holding down the shift key until you see the message Extensions off , which appears right after Welcome to Macintosh. They will turn back on the next time you restart the computer.
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primary components of the install. The information in this table is subject to change. Check the installer itself under the Custom install option for further information.
MOTU USB software item
ClockWorks
What it is/does
An application that lets you to configure and program your MOTU interface. A system extension that allows the Macintosh to talk to your MOTU interface. Goes in the FreeMIDI Folder inside your System Folder. Goes in the OMS Folder inside your System Folder.
MOTU USB Driver MOTU FreeMIDI USB Driver MOTU OMS USB Driver FreeMIDI System Extension
Creating a FreeMIDI or OMS Setup FreeMIDI and OMS are industry standard MIDI System Extensions for Mac OS 9. They allow MIDI software to talk to your MOTU interface and the devices connected to it. They also provide unied MIDI system conguration. For example, they supply your MIDI software with a list of MIDI devices connected to your MOTU USB MIDI interface. As a nal step in the software installation process, you need to run the FreeMIDI (or OMS) setup utility to specify what devices are connected to your MOTU USB interface. For complete details, see Appendix D, FreeMIDI and OMS page (151).
DAISY-CHAINING MIDI DEVICES

This system extension is placed in your System Folder and serves as an integrated MIDI operating system for all FreeMIDI-compatible software. It is required by ClockWorks, even if you plan to use OMS instead of FreeMIDI. This folder is placed in your System Folder and contains files that are required by FreeMIDI. This folder is placed on the top level of your hard disk. It contains several programs that help you configure FreeMIDI.
In general, daisy-chain MIDI devices (as shown in Figure 3-5 on page 22) should be avoided because it is more complicated to set up than connecting each device directly to your MOTU interface. If you have no choice but to daisy-chain, you need to congure each device such that it doesnt share any MIDI channels with other devices in the chain. Otherwise, youll
FreeMIDI Folder
FreeMIDI Applications Folder
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hear several instruments play at once because data sent to one unit is received by all the devices in the daisy chain that are listening to that same MIDI channel. To avoid this sort of unwanted instrument layering: 1 Double-click on the rst device in Mac OSs Audio MIDI Setup utility and disable some channels as shown in Figure 3-4 on page 19; leave others enabled.
2 Repeat this for the other devices in the daisy chain so that no two devices have the same channels enabled. For example, if you daisy chain a Korg Triton and a Roland JV-1080, set the Triton to use channels 1-8 and the JV1080 to use channels 9-16. 3 Now go to the front panel of each MIDI instrument itself and program it to respond to only the channels that are enabled in Audio MIDI Setup. Refer to the documentation for the device for details on this last step.
OUT USB cable MOTU USB MIDI interface IN
IN THRU IN THRU IN THRU
Figure 3-5: See Daisy-chaining MIDI devices on page 21 for special instructions on setting up your MIDI gear for daisy-chaining in this manner.
IN OUT
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WHERE TO GO NEXT
Refer to the items below that apply to you: If you want to start using MIDI software with your new MOTU interface... All MOTU interfaces have factory default settings that allow your MIDI software to communicate with all MIDI devices connected to the interface. So from here, you can turn to your software documentation to get started. If you havent created devices in your Audio MIDI Setup as explained in Creating a MIDI conguration on page 18, do so now before you begin using your MIDI programs. If you want to learn about the front panel controls... Turn to chapter 7, Front Panel Presets (page 107). If you want to program your interface with ClockWorks... Your MOTU interface console software is the front end for the features in your MOTU interface. It allows you to congure and program the powerful MIDI routing and processing features in the interface. You can graphically make direct routings from inputs and outputs, stripe SMPTE time code, create and save interface setups (which
consist of the entire internal conguration of the interface), set up the pedal inputs, or other tasks.For details, see chapter 5, ClockWorks For Mac OS X (page 29) or chapter 6, ClockWorks for Mac OS 9 (page 53).
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CHAPTER 4
Using MIDI Software
MIDI INPUTS AND OUTPUTS

Once youve completed the installation for your MOTU MIDI interface/synchronizer as described in the previous chapter, the devices youve specied in Audio MIDI Setup (or FreeMIDI/OMS Setup under Mac OS 9) will appear in the MIDI input and output menus of your MIDI software.
ALL CABLES PORT

Youll also see a MIDI port called All Cables. This port also appears in your MIDI programs, allowing you to send the same MIDI data out all MIDI output ports at once.
Figure 4-1: The devices in your Audio MIDI Setup conguration ((or, in Mac OS 9, your FreeMIDI/OMS conguration) will automatically appear as MIDI input sources and output destinations in your MIDI applications, as demonstrated here with Digital Performer.
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THE MIDI DATA PATH

As for MIDI data arriving and leaving your computer via the MOTU USB MIDI interface driver, imagine it coming and going from the MOTU interface as shown in Figure 4-2. All channelizing and ltering is applied before the input data arrives at the computer and after it is sent
from the computer. This is a great advantage as it frees up your computer and MIDI software from having to deal with the mundane (and time-consuming) chore of such processing. Just congure your MOTU interface and let it do all the work!
MDI IN Event ltering Channel mapping MOTU MIDI Interface data bus Channel mapping Event ltering
MDI OUT
Computer
Figure 4-2: The path that MIDI data takes through a MOTU Express XT or micro express. Other MOTU interfaces do not provide MIDI processing.
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USING MIDI SOFTWARE
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All Users
Part II For XT & micro Users
CHAPTER 5
OVERVIEW
ClockWorks For Mac OS X

ABOUT CLOCKWORKS
ClockWorks is a software program that gives you access to the programmable features in your MOTU MIDI Express XT or micro express interface. For example, you can make changes to the synchronization settings, lter some data on a particular input or output, or route MIDI data from any MIDI device to any other MIDI device connected to your MOTU interface.
This chapter provides instructions for running the Mac OS X version of ClockWorks. If you are running Mac OS 9, see chapter 6, ClockWorks for Mac OS 9 (page 53).
About ClockWorks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 The File menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 the Device list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 The ClockWorks window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 The Routings tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 The Presets tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 The Mutings tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 The Mappings tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Synchronization and MIDI Machine control . . . . . . . . . . . . . . . . . . 41 Sync tab settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 The Pedal tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Future updates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
ClockWorks cannot be used with a micro lite or Express 128 interface, as these devices do not support MIDI processing or synchronization features.
When do you need to use ClockWorks software? The only time you need to use ClockWorks is when you would like to make changes to the settings in your MOTU interface. If all you want to do is use it with a MIDI sequencer, you dont need to make any changes at all. The factory settings allow sequencing software to individually access any of the input or output ports on your MOTU interface. Just run your sequencer. You only need to run ClockWorks if you wish to customize your interface settings.
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ClockWorks window
Device list
Sync and MIDI Machine Control section
Tabs
Figure 5-1: Click the tabs to access the settings in ClockWorks for Mac OS X.
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CLOCKWORKS FOR MAC OS X
Familiarity with the Mac OS In explaining how to use ClockWorks, this chapter assumes that you are already familiar with the standard Mac OS interface conventions, such as how to select options using menus, check boxes, radio buttons, etc. and how to type and edit text, and so forth. Opening ClockWorks When you rst launch ClockWorks, the default view for ClockWorks is the MIDI Routing window, which displays the current MIDI processing conguration. (See Figure 5-1 on page 30.) If your MOTU interface doesnt appear If your MOTU interface doesnt show up in the Device List, check the following things:
Your MOTU interface is turned off. Power it up and choose Refresh Device from the ClockWorks File menu. A MOTU interface is not connected to the computer, or it is connected improperly. Make sure your cable connection(s) to the interface match Figure 2-1 and Figure 2-2 on page 9.
Open Audio MIDI Setup and make sure that the interface is present in your current studio setup. If not, scan for it as explained in Launching Audio MIDI Setup on page 18.
If you make any adjustments to your hardware, choose Refresh Device from the ClockWorks File menu.
THE FILE MENU

Here is a brief explanation of each item in the ClockWorks File menu. Device List The Device List menu item opens the Device List window. See the Device list on page 32 for details. Load Conguration The Load Conguration menu item opens a previously saved ClockWorks document and restores all of the MOTU interface settings saved in the document.
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Save Conguration The Save Conguration menu item saves all the current MOTU interface settings in ClockWorks as a document on disk. You can restore the settings by opening it with the Load Conguration command. Refresh Device ClockWorks always reects the current state of your MOTU interface. However, if at any time you suspect that the windows in ClockWorks dont accurately reect whats going on in the hardware for some reason, choose Refresh Device from the File menu. ClockWorks will be updated to reect the current state of the hardware. How ClockWorks interacts with the hardware Changes you make in ClockWorks are immediately reected in the hardware. Likewise, when you select a preset from the front panel, your MOTU interface updates ClockWorks, as long as the software is the currently active application. This is a convenient way to run through your user presets and inspect each ones settings in ClockWorks. If ClockWorks is not the active application on the computer, a system exclusive message is sent to
whatever application is currently active. If this application is recording incoming MIDI, these sysex messages get recorded as well. Reset to Factory Settings This menu item restores the factory default settings in the interface.
THE DEVICE LIST

The Device List window shows all MOTU USB MIDI devices connected to the computer. Click on a device to display its settings in the ClockWorks window.
THE CLOCKWORKS WINDOW

ClockWorks for Windows appears as a single window for each MOTU interface, as shown in Figure 5-1 on page 30. Click each tab to view the settings within the tab. ROM version display The ROM version of the currently selected USB MIDI device appears in the transport section of the window, as shown in Figure 5-1 on page 30.
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THE ROUTINGS TAB

The Routings tab provides an easy and powerful way for you to route MIDI data from any device connected to your MOTU interface to any other device connected to it. This window provides you with complete control over the ow of MIDI data through the interface.
Cable routing to and from the computer In MOTU USB MIDI interfaces, all MIDI inputs and outputs are always connected to the computer. Therefore, in ClockWorks, routings to and from the computer are not shown in the Routings tab. Use the Routings tab to make routings directly from inputs to outputs, or to make connections between the computer and the ADAT, MMC or MTC ports. Making a connection To route MIDI directly from a MIDI device to any other, click the source cable icon on the left and drag to the destination cable icon on the right. Connecting one input to multiple outputs To connect an input to more than one output, make each connection separately as described in the previous section. As a shortcut, shift-drag from the input cable on the left over to the rst output, and then drag directly to each additional output on the right. As you touch each output, it highlights and a connection is made.
Figure 5-2: The Routings Tab for the MIDI Express XT. The micro express has 4 inputs on the left and 6 outputs on the right.
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Selecting a connection To select a connection, click the connections input cable icon on the left or one of its output cable icons on the right. Deselecting all connections To deselect all connections, click anywhere in the middle of the window between the two columns of cables. Breaking a connection To break a connection, select the connection by clicking its cable icon, and press the delete key. Breaking one of several connections Often, a device will be connected to several other devices. To delete just one of the connections: 1 Redraw the connection you want to break. 2 Press the delete key to remove the highlighted connection.
The MTC In and MTC Out connections The MTC In and MTC Out connectors represent MIDI Time Code (MTC) routing to and from the interface itself. If you would like to send MIDI Time Code from your MOTU interface to devices connected to its MIDI Out ports, create a connection from the MTC Out port (on the left) to the desired device(s) on the right. Routing MTC to your MOTU interface If you would like to slave your MOTU interface to MIDI Time Code generated by another device, make a connection from the device (on the left) to the MTC In port (on the right). Routing MTC to the computer port From the factory, your MOTU interface is programmed to send MTC to the computer port, as shown in Figure 5-2 on page 33. This connection is required by any MIDI software that needs to slave to MTC generated by the interface. The MMC Out and MMC In ports The MMC Out and MMC In ports provide routing of MIDI Machine Control (MMC) transport commands to and from your MOTU interface itself. For example, if you
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would like to send MMC transport commands generated by (or redistributed by) your MOTU interface itself to another device, create a connection from the MMC Out port to the desired device. Usually, you will only have one such connection at a time, as only one device would be triggered as the Time Code source. Note also that this connection is not necessary, however, if you intend to send MMC transport commands directly from computer software (or a MMC hardware device) to a MMC device.
Routing MMC from the computer to the interface The MMC In port in the Routings tab represents MIDI Machine Control input to your MOTU interface itself. In other words, the interface listens to MMC transport commands from any devices (or computer software) connected to this port. For MMC transport control of the interface from the computer, all you need is the connection from the computer icon on the left to the MMC icon on the right, as shown in Figure 5-2 on page 33. Direct MMC versus redistributed MMC When the connection shown in Figure 5-2 on page 33 is made, your MOTU interface swallows all MMC transport commands sent by MMC software running on the computer, regardless of the MMC device the messages are intended for (as determined by the MMC device ID embedded in the messages). If you want to control a MMC device from your computer, you have two choices: 1. bypass the interfaces MMC features,
Figure 5-3: Routing MIDI Time Code from your Express interface to other MIDI devices connected to it.
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2. or send the MMC transport commands to the MOTU interface instead and have it redistribute them to the other MMC device(s) If you would like to bypass the interface and control a MMC device directly from your computer software (choice #1 above), remove the highlighted connection shown in Figure 5-2 on page 33. If you plan to use choice #2 above, maintain the connection shown in Figure 5-2 on page 33, and also make connection from your MOTU interfaces MMC Out port on the left to the MMC devices destination MIDI port on the right. Connecting an MMC controller If you would like to control your MOTU interface from a MMC controller connected to one of its MIDI inputs, connect the devices input cable to the MMC In port.
THE PRESETS TAB

The presets tab lets you name the users presets in your MOTU interface and choose which one is active (by clicking the button next to its name). For complete details about presets, see Front Panel Presets on page 107.
Figure 5-4: The Presets tab.
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THE MUTINGS TAB

The Mutings tab is a sophisticated MIDI data lter that controls what types of data will be sent and received by each MIDI OUT and MIDI IN cable. You can lter out any type of MIDI data on any channel on any cable. In addition, each MIDI channel can have its own unique muting setup. The Mutings tab shows the muting status for each type of data on all MIDI channels and all cables at once, giving you immediate feedback on the state of your interface.
Muting basics A simple way to think of data muting is this: imagine that each MIDI IN or MIDI OUT cable on your MOTU interface has a lter just inside the socket. A MIDI data stream enters the lter and then continues on past the lter with certain types of data removed. The lter has simply swallowed the data types that are being muted. On a MIDI IN cable, data is muted before it enters the interface. On a MIDI OUT cable, data gets muted just before it gets transmitted out of the interface.
When data is muted on a MIDI IN port, the light on the front panel still blinks when the data is received on the port. Dont be concerned. The light blinks to let you know that the interface is indeed receiving the data on that port. However, the data does get muted. (On output, however, since muted data doesnt actually get sent, the light does not blink.) Whenever you would like to mute data, begin with the following procedure:
Figure 5-5: The Mutings tab.
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1 If you have more than one MOTU interface, select the box you want to mute in the Device List window. 2 Click the Mutings tab. 3 Select the type of data to be muted from the Mute menu. Doing so makes the check box grid control the type of MIDI data you choose. 4 Choose Input or Output from the cables menu. Doing so makes the check box grid control muting for either MIDI IN ports or MIDI OUT ports. Now you are ready to click check boxes in the grid to mute data. Muting data on a single channel To mute data on a single MIDI channel for a device, click the appropriate check box in the grid. Check boxes are numbered from left to right, with each row representing a MIDI input or output port.
Muting a data type on all channels To mute a data type on all 16 channels for a device, drag across its row of check boxes. Doing so will select all check boxes in the row, selecting all channels for muting. Muting on all channels, all cables To mute a data type on all channels and all inputs, choose Inputs from the cable menu and click Set All. To do the same for outputs, choose Outputs from the Cable menu and click Set All. Unmuting data To unmute data on a single channel, deselect its check box. To unmute data on all channels and cables, click Clear. Muting MIDI beat clocks When MIDI beat clocks are transmitted to your MOTU interface (via a MIDI device or the computer) they are echoed to all cables. If you do not want MIDI beat clocks sent to all your MIDI devices, mute Real-time data on the output cables for those devices.
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Muting and remapping On the MIDI IN ports, muting occurs before channel remapping. On the MIDI OUT ports, channel remapping occurs before muting, as shown in Figure 5-6. For example, lets say that on one of the MIDI ports, you are muting channels 1-8, and you are also remapping all channels (1-16) to channel 16. If you did this on a MIDI IN port, channels 1-8 would get muted, and the data on channels 9-16 would get mapped to channel 16. If you did this on a MIDI OUT port, all data on all channels would be sent out on channel 16, since all channels are mapped to channel 16 before the muting occurs on channels 1-8. Heres another example: Lets say you are mapping all channels to channel 1, and you are muting channels 1-8. On input, only channels 9-16 will get rechannelized to channel 1, because channels 1-8 get muted rst. On output, no data would be sent because all channels are mapped to channel one rst, and then channel 1 is muted.
MDI IN
Muting lter
Channel mapping lter
MOTU interface data bus
Muting lter
MDI OUT
Figure 5-6: How muting and remapping interact with each other.
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THE MAPPINGS TAB

The Mappings tab controls the channelizing of MIDI data on all MIDI IN and MIDI OUT cables. With complete exibility, this window can switch data from its current MIDI channel to any other channel immediately when the data either enters or exits your MOTU interface.
Mapping basics A simple way to think of channel mapping is this: imagine that each MIDI IN or MIDI OUT port connected to your MOTU interface has a lter just inside the socket. MIDI data enters the lter on one channel and as it passes through the lter, it gets switched to a different channel. On a MIDI IN port, data enters on a given channel. But before it goes anywhere else, either to the computer or to a MIDI OUT cable, the Channel Map window can switch the data to a different MIDI channel. On a MIDI OUT cable, data exits the interface. But before it does, the Channel Map window can switch the data to a different channel. Using channel mapping Channel Mapping like this is useful in many different situations. For example, you may have a MIDI keyboard that only transmits data on MIDI channel 1. If you want to transmit its data on a different channel, you can map channel 1 on the keyboards MIDI IN cable to any other
Figure 5-7: The Mappings tab. Use the Input/Output and Cable menus to display the desired input or output cable. For each channel (row), click the check box corresponding to the channel you wish to remap it to.
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MIDI channel. To the rest of the network, it will then appear as if the keyboard is transmitting on the new, destination channel. Muting and remapping For information about when muting occurs before channel mapping and vice versa, see Muting and remapping on page 39.
Time Code (MTC) generated by your MOTU interface and routed to the computer. If the SMPTE Readout is not responding, make sure the Routings window has a connection from the MTC Out port on the left to the computer on the right.
Transport Frame rate and MMC controls record mode menus SMPTE readout and Locate buttons
SYNCHRONIZATION AND MIDI MACHINE CONTROL

The Sync tab and the sync-related controls at the top of the window give you control over your MOTU interfaces sync and MMC transport control features. Transport controls The transport controls are just like standard tape deck transports. These buttons control the time code generated by your MOTU interface when it is in Internal mode. SMPTE Readout The SMPTE Readout provides a running update of the time code being generated or converted by your MOTU interface. This running update is made possible by MIDI
Figure 5-8: The synchronization and MIDI machine controls.
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Cueing to a specic frame The SMPTE readout shows your MOTU interfaces current frame location in hours: minutes: seconds/ frames. You can also type in any frame location you wish into the SMPTE Readout to cue your MOTU interface to a specic frame location. Use the tab key to move from eld to eld and press return to conrm the SMPTE location you type in. Locate Buttons You can set the eight locate buttons to any SMPTE frame location you wish and then cue your MOTU interface (and all connected devices) as desired by clicking the appropriate Locate button. To set a locate point for a locate button, set the SMPTE counter to the desired location and then shift-click the button. Locate points are saved with ClockWorks les.
Clock mode menu This setting determines the clock mode for your Express interface. The choices are: Internal The Express interface operates under its own clock and ignores incoming time code. MTC Allows your Express interface to sync to MIDI Time Code from another device. For complete details, see MTC Mode on page 122. LTC Allows your Express interface to sync to SMPTE time code received on its SMPTE input jack. This mode provides more features than LTC QuickLok mode, such as the ability to regenerate time code via the SMPTE output jack. For complete details, see LTC mode on page 119.
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LTC QuickLok Allows your Express interface to sync to SMPTE time code received on its SMPTE input jack and convert it to MIDI Time Code to be sent to the computer and other devices. This mode provides fast lockup to LTC, but it doesnt provide as many other features as LTC mode (above). Frame Rate menu The SMPTE Frame rate menu lets you choose the overall time base and SMPTE frame rate for your MOTU interface. For a complete explanation of SMPTE frame rates, see Frame rates on page 142. The MMC record mode menu The MMC record mode settings let you control exactly when recording will occur in MMC devices being controlled by your MOTU interface. The MMC record mode menu has three choices: safe, rehearse, and record. Safe No recording can occur in any MMC device.
Rehearse This mode causes MMC devices to act as if they are recording, punching in, punching out, etc. but no recording actually occurs.
Make sure that your MMC device supports rehearse mode before attempting to use this record feature. If it doesnt, rehearse mode may actually record. Consult the manual for your MMC device for details. Record This mode allows recording on the currently recordenabled track(s) for any MMC device. To actually record, press the record button in your MMC-compatible host recording software.
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SYNC TAB SETTINGS

The Sync tab has the following status indicators and options: Status section The status section provides detailed information about what state your MOTU interface is in as a synchronizer. The following sections provide a brief explanation of each term. Output phase lock When this status indicator is illuminated, it means that time code generated by your MOTU interface (MTC and LTC) is in sync with the current time base. Input frame phase lock When this status indicator is illuminated, it means that your MOTU interface has successfully achieved lockup with incoming LTC/MTC full frame messages. Input quarter frame phase lock When this status indicator is illuminated, it means that your MOTU interface has successfully achieved lockup with incoming LTC/MTC quarter frame messages.
External time code detect When this status indicator is illuminated, it means that your MOTU interface has successfully detected external time code (MTC, LTC). Framelocked This status indicator means that your MOTU interface is successfully locked to an external time base and that it is also successfully generating or converting SMPTE time code. Frame lock The Frame lock check box is only available when your MOTU interface is locking to external SMPTE time code (in any form MTC, LTC or VITC). It is not available when your MOTU interface is in Internal sync mode. To understand the Frame lock option, you rst need to know that your MOTU interface continuously monitors incoming time code to detect any possible discontinuity in the frame times as they advance. If your MOTU interface detects more than ve frames in a row that are not
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continuous with respect to previous frames received, then it does one of two things, depending on whether the Frame lock option is turned on (checked) or off (unchecked). If the Frame lock option is turned on (checked), and your MOTU interface detects more than ve frames in a row that are not continuous with respect to previous frames received, then it will stop converting altogether. If the Frame lock option is turned off (unchecked), and your MOTU interface detects more than ve frames in a row that are not continuous with respect to previous frames received, then it begins to perform a kind of pseudo jam sync. In this mode, it continues to convert an uninterrupted stream of continuous time code, while at the same time clocking off of the incoming time code. Even though the frames it is generating no longer match the frames it is reading, it will continue to remain in sync with the incoming time code. In other words, when the Frame lock option is off, your MOTU interface ignores discontinuous jumps in incoming time code by continuing to clock itself off of the
incoming time code without stopping (or pausing). In doing so, it continues to convert a continuous, uninterrupted stream of frame times based on the time code to which it rst locked. Turn on Frame lock when you want your MOTU interfaces frame times to match incoming frame times, and you want it to stop converting altogether if there are jumps in incoming time code. Turning off Frame lock can be a life saver if you nd yourself in a situation where you have time code on tape (or other source) but the frame locations jump around to different times (because of overlapping SMPTE striping, edits, or whatever). By turning off Frame lock, you can sync continuously to this type of time code without glitching or stopping. If the SMPTE on your tape jumps around as described, you are likely to experience brief drop-outs at the points where it jumps. If so, just increase your MOTU interfaces freewheeling to cruise past them.
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Generate signal when stopped This option applies to situations in which your MOTU interface is converting time code and the source time code continues even when it is parked on a frame. The most common case is when your MOTU interface is locked to SMPTE time code being generated from a VITC converter that generates time code while still-framed (such as a MOTU Video Timepiece universal synchronizer), and the video deck is paused. In this situation, the Generate signal when stopped option, when checked, makes your MOTU interface continues to output time code (LTC, MTC and VITC), even while the video is parked on a single frame in pause mode. It will continue to do so as long as the video head is engaged and VITC lines can be scanned. Auto-detect input frame rate When this option is checked, the MIDI interface will automatically detect the frame rate of incoming SMPTE time code (VITC, LTC or MTC). In most situations, this is desirable because it ensures that your MOTU interface is properly interpreting and synchronizing to the time code.
If, however, you nd yourself in a situation where you would like to set the frame rate manually, uncheck this option and set the frame rate in ClockWorks. LTC Output This slider allows you to adjust the overall gain of the SMPTE time code from your MOTU interface LTC output jack. Move it towards the left to reduce the level; move it towards the right to increase it. This level control affects LTC output in all sync modes, including LTC, MTC, etc. Still-frame sensitivity This option lets you control how many frames in a row your MOTU interface needs to receive to consider incoming SMPTE as being parked on a single frame. While lowering this value makes your MOTU interface more responsive when you pause your video deck, it is also more likely to misinterpret ordinary transport shuttling. So make this value as low as you can, but raise it if you start getting improper frame locations when shuttling your deck.
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MIDI Machine ID The MIDI Machine ID option lets you change the MMC (MIDI Machine Control) device ID of your MOTU interface. The factory default ID of your MOTU interface is 19. The only situation in which you really need to change it is if you are using MIDI Machine Control with two or more MOTU interfaces. Otherwise, just leave it set to 19, and make sure that your MMC transport master controller device or computer software knows that your MOTU interfaces ID is 19. If you change your MOTU interface device ID for some reason, make sure that it does not match the ID of another device connected to it. Freewheel _ frames This option lets you set the number of frames your MOTU interface will freewheel over when it encounters a time code drop-out. For a complete explanation of freewheeling, see Freewheeling to avoid time code dropouts on page 115.
Innite freewheel When you choose this option, your MOTU interface begins generating time code on its own indenitely as soon as it stops receiving incoming time code. And it will continue to do so until you stop it with the STRIPE button on the front panel. You can also stop it by changing the master sync mode or by enabling the Freewheel option in ClockWorks.
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THE PEDAL TAB

The Pedal tab lets you program the pedal input(s) on your MOTU interface.
Convert an audio tempo source such as an audio click into MIDI data in order to slave MIDI hardware or software to the audio tempo source
Pedal type menu You have three choices:

None Normal Click to MIDI
The Normal setting should be used for momentary foot pedals. For the click-to-MIDI option, see Using an audio click as a tempo source on page 49.
Figure 5-9: The Pedal tab.
Pedal basics You can use a foot pedal to:

Generate MIDI data, such as notes, controllers, patch changes, pitch bend, and system exclusive
Polarity Negative polarity reverses the direction of the pedal, so that if it normally goes up when you press down, negative polarity will make it go down (and vice versa).
Route the data from the pedal to any device
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MIDI message A pedal can generate MIDI notes, pitch bend, controllers, patch changes, or sysex data. If you chose controller, select the type of controller you wish to generate. You can either type in the controller number or choose it by name from the menu. If you choose system exclusive, see Sending sysex data with a pedal on page 51. Channel The output from a pedal can be assigned to any MIDI channel. To choose the output cable, go to the Routings tab and drag a connection from the Pedal icon in the left column to the desired output(s) in the right column. Sending pedal data Once you have made the pedal data assignment and output assignment as described above, no other preparation is necessary. Just press the pedal. Using an audio click as a tempo source Your Express interface can convert an audio click into any MIDI event. The audio click can be played back from a tape deck or generated live by a drummer. This feature can be used for many purposes. Below are a few ideas:
Recording the clicks tempo map into a sequencer Slaving a sequencer to a click track Triggering drum samples
This feature can be used in conjunction with MOTUs Digital Performer software to slave a sequence to prerecorded music on tape while referenced to SMPTE time code. For more information, please refer to the Digital Performer manual. To convert an audio click into MIDI: 1 Be sure that the audio click source is connected to the quarter-inch pedal input on your Express interface. 2 In ClockWorks, go to the Pedal tab. 3 Under Pedal Type, choose Click-to-MIDI. The Click-to-MIDI options appear in the right-hand side of the window.
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will miss beats. The decay also determines the duration of the MIDI note generated by the Express interface. A low decay produces a long duration; a high decay produces a short duration. You may need to experiment to adjust these values. MIDI message and channel These are set in the same manner as previously described in MIDI message on page 49 and Channel on page 49. Click input hints If the Express interface reads the audio click erratically, such as generating doubled attacks, try adjusting the threshold and decay values. If you still have trouble, try attenuating the audio signal from the click source or through a mixer. The pedal input is purposefully sensitive so that it can detect a low-amplitude signal. If you are generating the click that the Express interface will convert, set the audio level fairly high (at around 0 dB). Also, record a short, transient click sound with no reverb or other effects. A short and precise click sound will produce the most reliable results.
Figure 5-10: The Click-to-MIDI options.
Threshold and Decay The threshold can be set anywhere on a scale from 0 to 70. The audio click must be loud enough to reach the threshold. A soft click will require a low threshold. Try to set the threshold as high as possible, however, to avoid false triggering from noise. Decay is meant to prevent doubled attacks. The decay can be set from 1 to 31. Low values make the decay longer; high values make it shorter. Try to set the decay as long (low) as possible, but if you are working with a faster tempo, dont make it too long or you
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Sending sysex data with a pedal A pedal can transmit a sysex message up to 27 bytes long. To program the sysex message: 1 Set up the knob or pedal as described in the previous sections. Once you have selected system exclusive as the type of data, youll see the sysex data entry window. 2 Click inside the sysex data entry box and type in the bytes necessary. The message can be up to 27 bytes long, including the F0 and F7 at the beginning and end of the message. 3 Set the output assignment as described in Channel on page 49.
FUTURE UPDATES
Visit www.motu.com for information about future updates for ClockWorks.
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CHAPTER 6
OVERVIEW
ClockWorks for Mac OS 9

OPENING CLOCKWORKS
ClockWorks lets you congure and program your MOTU Express interface, taking full advantage of its many advanced features. After setting up FreeMIDI or OMS as described in Appendix D, FreeMIDI and OMS page (151), follow the procedure below to ensure that it has successfully established communication with your MOTU interface.
This chapter provides instructions for running the Mac OS 9 version of ClockWorks. If you are running Mac OS X, see chapter 5, ClockWorks For Mac OS X (page 29).
Opening ClockWorks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 If your MOTU interface doesnt appear . . . . . . . . . . . . . . . . . . . . . . . 54 The Device List window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 ClockWorks basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Obtaining the ROM version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Memory meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Working With Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 Device Settings & Routing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Channel Map. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Muting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Sync and MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 SMPTE Reader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Utilities Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 The Presets window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Switching presets using a patch change . . . . . . . . . . . . . . . . . . . . . 94 Modifying a preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Working with a Foot Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
You might want to double-check to make sure that your MOTU interface is switched on before you launch ClockWorks. This ensures smooth hand-shaking between ClockWorks and the interface. 1 Double-click the ClockWorks icon. After you launch ClockWorks, the software and hardware perform a handshaking operation to establish communication. This may take a brief moment, and the lights on the front panel of your MOTU interface will icker during this period. If the handshake is successful, ClockWorks will open, and its menu bar appears with the File, Edit,
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Windows, and Utilities menus. If this is the rst time youve opened ClockWorks, you should also see the Device List window, as shown below in Figure 6-1. If not, you can open it by choosing it from the Windows menu.
A MOTU interface is not connected to the Mac, or it is connected improperly. Make sure your cable connection(s) to the interface match Figure 2-1 and Figure 2-2 on page 9. Then click Try Again. Open FreeMIDI Setup or OMS Setup and make sure that the interface is present in your current studio setup. If not, scan for it as explained in
2 If you make any adjustments to your hardware, choose Verify Network from the Utilities menu to make the ClockWorks scan the network again.
Figure 6-1: The Device List window shows what MOTU interface were detected by ClockWorks when it opens.
IF YOUR MOTU INTERFACE DOESNT APPEAR

If your MOTU interface doesnt show up in the Device List, check the following things:
Your MOTU interface is turned off. Power it up and choose Verify Network from the Utilities menu.
Alternately, you can press command-N. You can continue to make adjustments and verify the network until the Device List window matches your MOTU interface setup. 3 Once you have veried the presence of your MOTU Express interface, you are ready to begin using the other features in ClockWorks.
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CLOCKWORKS FOR MAC OS 9
THE DEVICE LIST WINDOW

ClockWorks serves as the control center for your MOTU interface. The Device List window is one of the most important windows because it shows you the current state of communication with your MOTU interface. If ClockWorks has detected and established normal communication with your interface, it appears by name as shown in Figure 6-1 on page 54. If your MOTU interface is off-line (switched off or temporarily disconnected), its icon will become grayed out. Working with several MOTU devices ClockWorks serves as the control center for all MOTU interface and synchronizer products, including the Digital Timepiece synchronizer. If you have several MOTU devices, they will all appear in the Device List (once ClockWorks has established communication with them). When youre working with several MOTU devices, ClockWorks needs to know which device you want to work with at the moment. You indicate this by opening the
Device List from the Windows menu and clicking the name of the device you want to control. This make the windows and menus of ClockWorks apply to the currently selected device. If a menu item or other item does not apply to the device, it becomes grayed out.
Figure 6-2: The Device List lets you control which device you are working with in ClockWorks when you have several pieces of MOTU gear. Click the name of device to select it. The settings of the currently selected device appear in all of ClockWorks windows.
CLOCKWORKS BASICS
In explaining how to use ClockWorks, this chapter assumes that you are already familiar with the standard Macintosh user interface conventions, such as how to select options using check boxes and radio buttons, how to type and edit text, and so forth.
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Overall look and feel The ClockWorks look and feel is modeled after MOTUs award-winning Performer sequencing program. Several aspects of this interface, including mini-menus, are explained later in this chapter. Even if you are familiar with Performers conventions and appearance, we suggest that you skim this chapter to learn about features that are unique to ClockWorks. The following sections cover several important, unique characteristics about ClockWorks. Windows Most of the features in ClockWorks are presented to you in windows opened from the Windows menu. The Utilities menu contains several additional commands which are described in Utilities Menu on page 90. After you open a window, you can position it anywhere on the screen. It will remember this location. In several windows, the name of the current base setup or modier is displayed in parentheses in the title bar of the window to clearly indicate which base setup the settings apply to.
Mini-menus Most of the ClockWorks windows have mini-menus, which are located in the title bar of the window at the lefthand side next to the close triangle. A mini-menu acts just like a Macintosh main menu except that it provides commands that are specic to its own window.
Figure 6-3: A mini-menu
Buttons Every time you click a button in a ClockWorks window, ClockWorks sends a corresponding command to your MOTU Express interface. Therefore, the buttons in the window always reect the state of the interface hardware.
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Radio buttons Although ClockWorks radio buttons look unique, they behave just like standard Macintosh radio buttons. Radio buttons work such that you can only select one of the given choices; if you click a new button, the previously chosen one will deselect.
Check box grid The Event Muting window displays an entire grid of check boxes, like this:
Figure 6-4: ClockWorks radio buttons.
Check boxes Check boxes are also a bit different. You can select any combination of them.
Figure 6-6: A check box grid.
Figure 6-5: A ClockWorks check box.
Push buttons ClockWorks push buttons look different from but function the same way as standard push buttons.
The grid consists of check boxes placed edge to edge in rows and columns. The rows and columns are arranged into groups of four for clarity. A check box in the grid represents a connection between its row and column numbers.
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Check boxes in a grid function the same way as regular check boxes. In addition, we have added several shortcuts that you will nd extremely useful when using the grids. To select several adjacent boxes, click and drag. To select an entire column, click the column number. Similarly, to select an entire row, click the row name. To deselect an entire row or column, click the name or number again. The row will only deselect if all boxes in it are selected. Text boxes There are text boxes throughout ClockWorks for typing in things like MIDI channel numbers, etc. However, in addition to typing in the standard fashion, ClockWorks also lets you drag vertically to change the value. Just click on the current number in the box and drag vertically.
Using ClockWorks with multiple interfaces ClockWorks provides many windows that control various aspects of a single MOTU interface. When you have two or more MOTU interfaces connected to your Mac, you need to choose which one you are controlling with the software. There are two ways to choose:
Click the Express interface icon in the Device List window.
OR
Choose the Express interface name using the Box Select command in the Utilities menu.
For example, if you want to set up the Pedal input of your MIDI Express XT, select it in the Device List window before you go to the Pedals & Knobs window to make your settings. The currently selected device highlights.
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Understanding the interaction between the software and hardware ClockWorks always reects the current state of your MOTU Express interface. At least, it should. If, at any time, you suspect that the windows in the software dont accurately reect whats going on in the hardware for some reason, choose Verify Network from the Utilities menu. Doing so reestablishes communication between the software and hardware, and the software gets updated to the current state of the hardware. When communication is successfully established, changes you make in ClockWorks are immediately reected in the hardware. Likewise, when you select a preset from the front panel, your MOTU interface updates the software on the computer, as long as the software is the currently active application. This is actually a handy way to run through all of your user presets to inspect each ones settings in the software. If ClockWorks is not the active application on the computer, a system exclusive message is sent to
whatever application is currently active. If this application is recording incoming MIDI, these sysex messages get recorded as well.
OBTAINING THE ROM VERSION

To obtain the ROM version of any MOTU Express interface connected to your computer, look in the Device List window. The ROM version is displayed to the right of each interface in the list.
MEMORY METER
The Memory meter window can be opened by choosing its name from the Windows menu or by pressing commandM.
Figure 6-7: The Memory meter.
This window displays the amount of the computers random access memory (RAM) available to ClockWorks. Ideally, this window should display at least 100,000 bytes. Normally, it wont get much lower than this. If it does get
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lower, quit ClockWorks and increase the memory partition in the Get Info window. (Highlight the ClockWorks icon and choose Get Info from the File menu.) You may also want to do this if you create and use many modiers.
ClockWorks, none of the windows belong to a specic le, so any windows that are open will remain open after you close. Creating a new le To create a new le, just open ClockWorks. When you open ClockWorks, it loads the entire contents of the MOTU interface memory into the computer. It is stored in RAM until you save it as a le, which is explained in the next section. Saving les As you work with ClockWorks, the settings it is currently displaying are stored in you MOTU interfaces memory. If you create an operating conguration that is either important to you or somewhat time-consuming to recreate, we strongly recommend that you also save it as a le on your computers hard disk. This will allow you to easily restore it at a later time, if necessary, by simply opening it in ClockWorks. Heres the basic procedure to save a le: 1 Choose the Save command from the File menu.
WORKING WITH FILES

ClockWorks lets you save the entire contents of your MOTU interfaces memory, including base setups, modiers, and patches (which are explained in later chapters) as a le on disk. The le can later be opened and modied at any time. This allows you to store an unlimited number of MOTU interface setups. ClockWorks handles le saving, opening, and closing in the normal Macintosh fashion. You can save a le, open it, make changes to it, save the changes, or save them as a different le under a different name with the Save As command.
ClockWorks is unique, however, when you close a le. In most Macintosh programs, when you close a le, windows associated with the le close as well. In
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2 If you are saving the le for the rst time, a dialog box will appear prompting you for a name. Type in the name of your le and click Save. After you save, any changes you make will not be saved with the le until you save again. Saving a le under a different name The Save As command is used to save a le under a different name or to a different disk: 1 Choose Save As from the File menu. The Save As dialog box will appear. 2 Type in the new name for the le. 3 Click Save. Your le is saved on the disk in its current state under the new name.
Reverting to a previously saved version If youve made unwanted changes to a le, you can undo the changes youve made by returning to the last saved version. This operation is identical to closing the le without saving changes and opening it from the disk again. 1 Choose Revert to Saved from the File menu. A dialog box asks you to conrm this choice. 2 Click on OK to conrm your choice. Reverting to the last saved version of the le means that all changes youve made since you opened or last saved the le will be lost. Reverting to a previously saved version is useful when experimenting with a le. You can quickly remove any changes by using this command. Make sure that you save the le in the state you want it before beginning to experiment.
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Opening an existing le To open an existing le: 1 Double-click on the le icon. You can also click once on the le and choose Open from the File menu. This will start ClockWorks and bring up the selected le. To open an existing le from within ClockWorks: 1 If a le is already open, close it by selecting Close from the File menu. You are given the option of saving changes in this le. 2 Select Open from the File menu. A dialog box appears containing a list of les on the selected disk. To see the les on a disk in a different drive, click the Desktop button. To view les on another disk which is not currently in a drive, click on the Eject button and insert the other disk. 3 Click on the name of the le you wish to open.
4 Click on the Open button. The le you selected will be opened. Double-clicking on the name of the le will also open the le. Checking to see what le is currently open To determine which le you currently have open in ClockWorks, if any, check the Close command in the File menu. If a le is open, the Close command will read Close Filename, where the name of the le is displayed in parentheses after the word Close. Closing a le To close a le, choose Close lename from the File menu, where lename is the name of the currently open le. If you have made changes in ClockWorks windows that are not yet saved, you will be asked if you want to save them before closing.
All ClockWorks windows that are currently open will remain open after you close the current le. If you wish to make further changes to the le, you will need to reopen it rst (with the Open command) in order to be able to save them.
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Quitting ClockWorks Quitting ClockWorks returns you to the Macintosh desktop.
DEVICE SETTINGS & ROUTING

The Device Settings & Routing Window in ClockWorks provides an easy and powerful way for you to route MIDI data from any device connected to your MOTU interface to any other device connected to it. This window provides you with complete control over the ow of MIDI data through the interface. Device Settings & Routing window If you created a bare-bones FreeMIDI or OMS setup as shown in Figure D-2 on page 154 orFigure D-4 on page 157, youll see the generic names (Cable 1, Cable 2, etc.) shown below in Figure 6-8.
Choose Quit from the File menu.
A dialog box may appear asking you if you want to save changes made to the le. To save the changes, press Save. If you dont want to save changes, press Dont Save. To withdraw the Quit command and return to your ClockWorks le, press Cancel.
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Device Settings & Routing window for the MIDI Express XT
Naming devices with FreeMIDI or OMS If you congured your FreeMIDI or OMS setup to accurately reect the names of the devices connected to your interface, youll see device names as shown below in Figure 6-9. These device names are also displayed in other windows throughout ClockWorks, including the Channel Mapping, Event Muting, Knobs & Pedals, Patch List, MIDI Cannon, and Setups & Modiers windows.
Device Settings & Routing window for the micro express
Figure 6-8: The Device Settings & Routing window provides graphic access to all of your MOTU interfaces MIDI routing, merging and splitting capabilities.
Figure 6-9: FreeMIDI or OMS provides names for the MIDI device connected to each input and output. Choose Edit FreeMIDI Conguration from the Utilities menu to open FreeMIDI Setup or OMS Setup and create device names. If you have multiple devices connected to a MIDI port, the console displays the term multiple devices.
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Use FreeMIDI Setup or OMS Setup to add, remove, or change device names. To launch FreeMIDI Setup or OMS Setup from within ClockWorks, choose Edit FreeMIDI Conguration from the Utilities menu in ClockWorks. Then refer to the information below.
To do this
Add a device
Do this
FreeMIDI Use the Create Device or Quick Setup commands in the Configuration menu. OMS Use the New Device command in the Studio menu. Figure 6-10: Routing MIDI data from one piece of gear to another.
Delete a device Rename a device
Click it to select it and press the delete key. Click its name to edit the text.
Making a connection To connect any MIDI device to another in the network: 1 Click the source cable icon on the left and drag to the destination cable icon on the right as shown below in Figure 6-10. In the example below, the Alesis QS8 keyboard controller is being connected to the Roland JV-2080 sound module.
2 When you release the mouse, the connection appears in the window as shown in Figure 6-11, along with an activated pop-up box on top of the connection with the word all in it.
Figure 6-11: Setting the MIDI channels when making a connection.
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The all box means that all channels on the QS8 are currently routed to all channels on the JV-2080. If you want to connect specic MIDI channels, see Specifying channels in a connection on page 68. 3 Press return to conrm the cable connection.
the left over to the rst output, and then drag directly to each additional output on the right. As you touch each output, it highlights and a connection is made.
Figure 6-13: Connecting one input to several outputs.
Figure 6-12: A completed cable connection.
Connecting one input to multiple outputs To connect an input to more than one output, make each connection separately as described in the previous section. As a shortcut, shift-drag from the input cable on
Selecting a connection To select a connection, click the connections input cable icon on the left or any one of its output cable icons on the right.
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2 Press the delete key, or choose Clear from the Edit menu. Breaking one of several connections Often, a device will be connected to several other devices, like this:
Figure 6-14: Selecting a connection.
Deselecting all connections To deselect all connections, click anywhere in the middle of the window between the two columns of cables.
And youll want to only remove one of the connections. To do so: 1 Redraw the connection you want to break.
Figure 6-15: Click anywhere on the background to deselect all connections. A deselected connection appears as a thin line.
Breaking a connection To break a connection: 1 Select the connection by clicking its cable icon. 2 Press the return key to get past the channel pop-up.
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For example, you can specify that channel 2 on the input is to be connected to channel 2 on the output. The input and output channel will always be the same in a connection. (To change channels on input or output, you can use the Channel Map window.) Multiple connections from the same device can have different channel assignments. For example, you could make a connection from your controller to channel 1 on one synth, and then make a second connection to channel 5 on another synth. To specify the channel to be routed: 1 Click the MIDI cable icon of either the input device or output device. 2 Click the text box on the connection. Specifying channels in a connection Your MOTU interface lets you specify channels when you make a connection from one piece of gear to another.
3 Press the delete key to remove the highlighted connection. If you click on the device again, the connection will be gone:
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3 on the Emulator E4xt, as well as a few other synths. In each connection, channel 1 is being mapped to channel 1, channel 2 is being mapped to channel 2, etc. If you want all channels to be connected, type a for all (connect all channels).
Figure 6-16: Specifying a single MIDI channel in a Device Settings & Routing connection. To do so, click the input device and then pop-edit the box shown.
3 Type in the desired MIDI channel in the text box and press return to conrm your choice.
Figure 6-17: Specifying multiple channels when making connections.
If you want, you can type in several channels as shown below. This is useful if you are using a keyboard split on your controller and you want to send the splits to different channels of the same synth. In Figure 6-17, the QS8 keyboard is split into three parts, transmitting on channels 1, 2, and 3, which are being connected to channels 1, 2, and
Note: channel remapping cannot be done in this window. For example, you cannot route channel 3 on the QS8 to channel 5 on the E4. To accomplish this, see chapter , Channel Map (page 74).
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Making computer connections When your MOTU interface ships from the factory, it is set up so that anything connected to the interface can talk to the computer, and the computer can talk to anything connected to the interface. These connections are represented by the lines connected to the Computer icons in the Device Settings & Routing window.
The MTC In and MTC Out connections The MTC In and MTC Out connectors represent MIDI Time Code (MTC) routing to and from the interface itself. If you would like to send MIDI Time Code from your MOTU interface to devices connected to its MIDI Out ports, create a connection from the MTC Out port to the desired devices, as shown in Figure 6-19.
Figure 6-18: Editing computer connections. To route MIDI data to the computer, use the computer icon on the right. To route MIDI data from the computer, use the computer icon on the left.
Edit these connections in the same manner as described earlier in this chapter.
Figure 6-19: To send MIDI Time Code (MTC) generated by your Express interface to other devices, make a connection from the MTC Out port (on the left) to the desired devices on the right as shown here. In this example, the MOTU interface (an Express XT in this example) is programmed to send MTC to the Roland VS-880 hard disk recorder (and the computer, too, of course).
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Routing MTC to your MOTU interface If you would like to slave your MOTU interface to MIDI Time Code generated by another device, make a connection from the device (on the left) to the MTC In port (on the right). Routing MTC to the computer port From the factory, your MOTU interface is programmed to send MTC to the computer port, as shown below in Figure 6-20. This connection is required by any MIDI software that needs to slave to MTC generated by the interface.
The MMC Out and MMC In ports The MMC Out and MMC In ports provide routing of MIDI Machine Control (MMC) transport commands to and from your MOTU interface itself. For example, if you would like to send MMC transport commands generated by (or redistributed by) your MOTU interface itself to another device, create a connection from the MMC Out port to the desired device as shown below in Figure 6-21. Usually, you will only have one such connection at a time, as only one device would be triggered as the Time Code source. Note also that this connection is not necessary, however, if you intend to send MMC transport commands directly from computer software (or a MMC hardware device) to a MMC device. MMC In and MMC Out port connections only involve MMC transport commands; they do not route MMC record functions, such as record-enable or auto punch-in/ out. To route MMC record functions, make connections between the Device Settings & Routing Windows MIDI ports and computer icon as needed.
Figure 6-20: From the factory, your MOTU interface is programmed to send MIDI Time Code to the computer as shown here by the selected connection. This connection is necessary for slaving software to MTC generated by the interface.
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For MMC transport control of the interface from the computer, make the connection shown below in Figure 6-22.
Figure 6-21: When you want to trigger another MMC device with your MOTU MIDI interface, or if you want the interface to redistribute MMC transport commands from your sequencer or an Alesis LRC, connect the MMC Out port to any device you wish to control. Note that these MMC connections involve MMC transport commands only. For MMC record functions (play-enable, punch-in, etc.), use the regular MIDI ports and computer connections.
Routing MMC from the Mac to the interface The MMC In port in the Device Settings & Routing window represents MIDI Machine Control input to your MOTU interface itself. In other words, the interface listens to MMC transport commands from any devices (or computer software) connected to this port.
Figure 6-22: The selected connection shown above is required when you want to control your MOTU interface and any devices slaving to it from your sequencer or other MMC software on the computer.
Direct MMC versus redistributed MMC When the connection shown in Figure 6-22 is made, your MOTU interface swallows all MMC transport commands sent by MMC software running on the computer, regardless of the MMC device the messages are
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intended for (as determined by the MMC device ID embedded in the messages). If you want to control a MMC device from your computer, you have two choices: 1. bypass the interfaces MMC features, 2. or send the MMC transport commands to the MOTU interface instead and have it redistribute them to the other MMC device(s) If you would like to bypass the interface and control a MMC device directly from your computer software (choice #1 above), remove the highlighted connection shown in Figure 6-22. If you plan to use choice #2 above, make the connection shown in Figure 6-22, and also make connection shown in Figure 6-21 (which routes your MOTU interfaces MMC Out port to the other MMC device). Connecting an MMC controller If you would like to control your MOTU interface from a MMC controller connected to one of its MIDI inputs, connect the devices input cable to the MMC In port as demonstrated below.
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CLOCKWORKS FOR MAC OS 9 Figure 6-23: To control your MOTU interface from a MMC controller such as JLCoopers CuePoint, connect it to the MMC In port.
CHANNEL MAP
The Channel Map window controls the channelizing of MIDI data on all MIDI IN and MIDI OUT cables. With complete exibility, this window can switch data from its current MIDI channel to any other channel immediately when the data either enters or exits your MOTU interface.
Channel mapping basics A simple way to think of channel mapping is this: imagine that each MIDI IN or MIDI OUT port connected to your MOTU interface has a lter just inside the socket. MIDI data enters the lter on one channel and as it passes through the lter, it gets switched to a different channel. On a MIDI IN port, data enters on a given channel. But before it goes anywhere else, either to the Macintosh or to a MIDI OUT cable, the Channel Map window can switch the data to a different MIDI channel. On a MIDI OUT cable, data exits the interface. But before it does, the Channel Map window can switch the data to a different channel.
Figure 6-24: Use the pop-up menus to choose the MIDI device input or output you would like to remap. Then change the MIDI channel numbers as desired. Click the Default button to restore all mappings to their default state (channel 1 to channel 1, 2 to 2, etc.)
Using channel mapping Channel Mapping like this is useful in many different situations. For example, you may have a MIDI keyboard that only transmits data on MIDI channel 1. If you want to transmit its data on a different channel, you can map channel 1 on the keyboards MIDI IN cable to any other
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MIDI channel. To the rest of the network, it will then appear as if the keyboard is transmitting on the new, destination channel. Muting and remapping For information about when muting occurs before channel mapping and vice versa, see Muting and remapping on page 77.
stream enters the lter and then continues on past the lter with certain types of data removed. The lter has simply swallowed the data types that are being muted. On a MIDI IN cable, data is muted before it enters the interface. On a MIDI OUT cable, data gets muted just before it gets transmitted out of the interface.
MUTING
The Event Muting window is a sophisticated MIDI data lter that controls what types of data will be sent and received by each MIDI OUT and MIDI IN cable. You can lter out any type of MIDI data on any channel on any cable. In addition, each MIDI channel can have its own unique muting setup. The Event Muting window shows the muting status for each type of data on all MIDI channels and all cables at once, giving you immediate feedback on the state of your interface. Muting basics A simple way to think of data muting is this: imagine that each MIDI IN or MIDI OUT cable on your MOTU interface has a lter just inside the socket. A MIDI data
When data is muted on a MIDI IN port, the light on the front panel still blinks when the data is received on the port. Dont be concerned. The light blinks to let you know that the interface is indeed receiving the data on that port. However, the data does get muted. (On output, however, since muted data doesnt actually get sent, the light does not blink.) Whenever you would like to mute data, begin with the following procedure: 1 If you have more than one MOTU interface, select the box you want to mute in the Device List window in ClockWorks. See The Device List window on page 55 for details.
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2 From the Windows menu, open the Event Muting window.
Now you are ready to click check boxes in the grid to mute data. Muting data on a single channel To mute data on a single MIDI channel for a device, click the appropriate check box in the grid. Its channel number is labeled by column across the top of the grid; its device is labeled by row along the left side of the grid. Muting a data type on all channels To mute a data type on all 16 channels for a device, click the device name at the left edge of the check box grid. Doing so will select all check boxes in the row, selecting all channels for muting. Muting on all channels, all cables To mute a data type on all channels and all devices, click the Input button and click Set All. This sets the grid to all MIDI IN cables and select all the check boxes in the grid. Similarly, click the Output button and click Set All again. This sets the grid to all MIDI OUT cables and selects all the check boxes.
Figure 6-25: The pop-up menus at the top of the window let you choose the type of data to be muted and whether you are muting MIDI inputs or outputs. Click the desired check box(es) in the grid; each check box represents a MIDI channel (by column) for a device (by row). When the check box is checked, the data is muted.
3 Select the type of data to be muted from the Mute popup menu. 4 Choose Input or Output from the pop-up menu. Doing so makes the check box grid control muting for either MIDI IN ports or MIDI OUT ports.
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Unmuting data To unmute data on a single channel, deselect its check box. To unmute data on all channels and cables, click Clear. Muting MIDI beat clocks When MIDI beat clocks are transmitted to your MOTU interface (via a MIDI device or the Macintosh) they are echoed to all cables. If you do not want MIDI beat clocks sent to all your MIDI devices, mute Real-time data on the output cables for those devices. Muting and remapping On the MIDI IN ports, muting occurs before channel remapping. On the MIDI OUT ports, channel remapping occurs before muting, as shown in Figure 6-26. For example, lets say that on one of the MIDI ports, you are muting channels 1-8, and you are also remapping all channels (1-16) to channel 16.
MDI IN
Muting lter
MOTU interface data bus
Muting lter
MDI OUT
Figure 6-26: How muting and remapping interact with each other.
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If you did this on a MIDI IN port, channels 1-8 would get muted, and the data on channels 9-16 would get mapped to channel 16. If you did this on a MIDI OUT port, all data on all channels would be sent out on channel 16, since all channels are mapped to channel 16 before the muting occurs on channels 1-8. Heres another example: Lets say you are mapping all channels to channel 1, and you are muting channels 1-8.
On input, only channels 9-16 will get rechannelized to channel 1, because channels 1-8 get muted rst. On output, no data would be sent because all channels are mapped to channel one rst, and then channel 1 is muted.
SYNC AND MIDI MACHINE CONTROL

The Sync/MMC window in ClockWorks gives you control over your MOTU interfaces sync and MMC transport control features. The following sections provide a brief overview of this window. For more information, see chapter 8, Synchronization (page 113).
Mini-menu with device preferences Transport controls Locate buttons Set Locate controls Extra settings button FreeMIDI Sync button An ADAT (this feature is only available with a MIDI Timepiece AV) ADAT List (MIDI Timepiece AV only)
Figure 6-27: The Sync/MMC window
SMPTE Readout with offset Time Base and Frame Rate settings Record settings VTR recording options (Only available with the Digital Timepiece synchronizer)
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Transport controls The transport controls are just like standard tape deck transports. From left to right, they are: rewind, stop, play, pause and record. These buttons control the time code generated by your MOTU interface when it is in Internal mode.
Rewind Stop Play Pause Record
The SMPTE readout shows your MOTU interfaces current frame location in hours: minutes: seconds/ frames. You can also type in any frame location you wish into the SMPTE Readout to cue your MOTU interface to a specic frame location. When your MOTU interface is set to slave to an external time code source, you can click the offset button as shown below in Figure 6-29 to type in a global SMPTE offset for your MOTU interface.
Figure 6-28: ClockWorks transport controls.
SMPTE Readout The SMPTE Readout provides a running update of the time code being generated or converted by your MOTU interface. This running update is made possible by MIDI Time Code (MTC) generated by your MOTU interface and routed to the Macintosh. If the SMPTE Readout is not responding, make sure in the Device Settings & Routing window that the MTC Out port on the left is connected to the computer port on the right.
Figure 6-29: Click the button as shown to type in a global SMPTE offset for your MOTU interface.
Locate Buttons You can set the eight locate buttons to any SMPTE frame location you wish and then cue your MOTU interface (and all connected devices) as desired by clicking the appropriate Locate button.
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Figure 6-30: The Locate buttons.
The Set Locate controls provide two ways to program a locate button as shown in Figure 6-31.
Figure 6-32: Typing in a SMPTE frame for a locate button.
Locate points are saved with ClockWorks les. Time Base and Frame Rate Settings The Time Base and SMPTE Frame rate settings let you choose the overall time base and SMPTE frame rate for your MOTU interface.
Click here to Load the current frame displayed in ClockWorks main SMPTE readout.
Click here to type in any desired SMPTE frame.
Figure 6-31: The Set Locate controls. Click the lower arrow to load the SMPTE frame currently displayed in the SMPTE Readout. You can even do so on the y. Click the upper arrow to type in the desired SMPTE frame.
Click the upper arrow to type in the desired SMPTE frame. Use the tab key to move from eld to eld as shown in Figure 6-32 and press return to conrm the SMPTE location you type in.
Time Base setting
SMPTE Frame rate
Figure 6-33: The Time Base and SMPTE frame rate settings.
The choices in the Time Base menu are:
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Internal The Express interface operates under its own clock and ignores incoming time code. MTC Allows your Express interface to sync to MIDI Time Code from another device. For complete details, see MTC Mode on page 122.
The Record settings The recording settings let you control exactly when recording will occur in MMC devices being controlled by your MOTU interface.
Record settings
LTC Allows your Express interface to sync to SMPTE time code received on its SMPTE input jack. This mode provides more features than LTC QuickLok mode, such as the ability to regenerate time code via the SMPTE output jack. For complete details, see LTC mode on page 119. LTC QuickLok Allows your Express interface to sync to SMPTE time code received on its SMPTE input jack and convert it to MIDI Time Code to be sent to the computer and other devices. This mode provides fast lockup to LTC, but it doesnt provide as many other features as LTC mode (above). For further explanation, see SMPTE Reader on page 86.
Figure 6-34: The record settings.
The left-hand record menu has three choices: safe, rehearse, and record. Safe No recording can occur in any MMC device. Rehearse This mode causes MMC devices to act as if they are recording, punching in, punching out, etc. but no recording actually occurs.
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Make sure that your MMC device supports rehearse mode before attempting to use this record feature. If it doesnt, rehearse mode may actually record. Consult the manual for your MMC device for details. Record This mode allows recording on the currently recordenabled track(s) for any MMC device. To actually record, press the record button in ClockWorks transport controls (Figure 6-28 on page 79). ClockWorks only / Any application The right-hand menu has two choices: ClockWorks only and Any application. When ClockWorks only is chosen, recording will only occur when ClockWorks is the active application. This mode is useful for preventing accidental recording when you switch to your sequencer (or other MMC-compatible software) on the Macintosh. When Any application is chosen, ClockWorks still controls whether or not recording will occur, but you can initiate recording from other FreeMIDI compatible programs, such as Performer or Digital Performer, that you may have running at the same time as ClockWorks. First, make sure
that FreeMIDI Sync is enabled. Then press the record button in ClockWorks to allow recording. When you switch to another FreeMIDI application, such as Performer, ClockWorks record button will remain on. If you then hit play in the other program (e.g. Performer), recording will happen. If you want to control record functions entirely in Performer, turn off FreeMIDI Sync so that ClockWorks doesnt interfere with Performer. VTR Recording options The VTR recording options determine how the Sony 9-pin compatible video tape recorder (VTR) will respond when it is put into record. This feature is only available in the MOTU Digital Timepiece synchronizer. It is grayed out when you are using a MOTU MIDI interface. FreeMIDI Sync When the FreeMIDI Sync option is checked, ClockWorks transport buttons will control the transport functions (play, stop, rewind, and locate) of other FreeMIDI applications running in the background.
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FreeMIDI Sync should be turned off whenever any FreeMIDI application is slaving to MIDI Time Code. For example, when you are using Performer or Digital Performer, you are most likely slaving them to MTC from your MOTU interface. In this case, be sure to turn off FreeMIDI Sync.
choosing different time base modes from the time base pop-up menu (as shown in Figure 6-33 on page 80). As you change modes, youll see options grey out and become active.
Extra settings The Extra Settings button shown below in Figure 6-35 opens an additional pane in the Sync/MMC window.
Figure 6-36: The Extra Settings pane for the MIDI Express XT and micro express.
The following sections provide a brief explanation for all of the options in the Extra Settings pane.
Extra settings button
Figure 6-35: Click the Extra Settings button shown here to display more synchronization settings.
Some options in the Extra Settings pane may grey out depending on which MOTU interface you have and which time base mode you select. Only options that apply to the currently selected time base mode remain active. You can see how this works by opening the pane and successively
LTC and MTC Settings Several settings in the Sync/MMC window apply to the MTC, LTC or LTC QuickLok modes. These options pertain to when your MOTU interface is converting time code (MTC or LTC) from an external source.
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Frame lock The Frame lock check box is only available when your MOTU interface is locking to external SMPTE time code (in any form MTC, LTC or VITC). It is not available when your MOTU interface is the time code address master (any time base mode that includes the word Internal in its name). To understand the Frame lock option, you rst need to know that your MOTU interface continuously monitors incoming time code to detect any possible discontinuity in the frame times as they advance. If your MOTU interface detects more than ve frames in a row that are not continuous with respect to previous frames received, then it does one of two things, depending on whether the Frame lock option is turned on (checked) or off (unchecked). If the Frame lock option is turned on (checked), and your MOTU interface detects more than ve frames in a row that are not continuous with respect to previous frames received, then it will stop converting altogether.
If the Frame lock option is turned off (unchecked), and your MOTU interface detects more than ve frames in a row that are not continuous with respect to previous frames received, then it begins to perform a kind of pseudo jam sync. In this mode, it continues to convert an uninterrupted stream of continuous time code, while at the same time clocking off of the incoming time code. Even though the frames it is generating no longer match the frames it is reading, it will continue to remain in sync with the incoming time code. In other words, when the Frame lock option is off, your MOTU interface ignores discontinuous jumps in incoming time code by continuing to clock itself off of the incoming time code without stopping (or pausing). In doing so, it continues to convert a continuous, uninterrupted stream of frame times based on the time code to which it rst locked. Turn on Frame lock when you want your MOTU interfaces frame times to match incoming frame times, and you want it to stop converting altogether if there are jumps in incoming time code.
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Turning off Frame lock can be a life saver if you nd yourself in a situation where you have time code on tape (or other source) but the frame locations jump around to different times (because of overlapping SMPTE striping, edits, or whatever). By turning off Frame lock, you can sync continuously to this type of time code without glitching or stopping. If the SMPTE on your tape jumps around as described, you are likely to experience brief drop-outs at the points where it jumps. If so, just increase your MOTU interfaces freewheeling to cruise past them. Enable still-frame sensitivity This option lets you control how many frames in a row your MOTU interface needs to receive to consider incoming SMPTE as being parked on a single frame. While lowering this value makes your MOTU interface more responsive when you pause your video deck, it is also more likely to misinterpret ordinary transport shuttling. So make this value as low as you can, but raise it if you start getting improper frame locations when shuttling your deck.
Generate signal when stopped This option applies to situations in which your MOTU interface is converting time code and the source time code continues even when it is parked on a frame. The most common case is when your MOTU interface is locked to VITC, and the video deck is paused. In this situation, the Generate signal when stopped option, when checked, makes your MOTU interface continues to output time code (LTC, MTC and VITC), even while the video is parked on a single frame in pause mode. It will continue to do so as long as the video head is engaged and VITC lines can be scanned. Auto-detect input frame rate When this option is checked, your MOTU interface will automatically detect the frame rate of incoming SMPTE time code (VITC, LTC or MTC). In most situations, this is desirable because it ensures that your MOTU interface is properly interpreting and synchronizing to the time code. If, however, you nd yourself in a situation where you would like to set the frame rate manually, uncheck this
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option and set the frame rate using either ClockWorks (in the MMC/Sync window) or your MOTU interface frontpanel controls. Freewheel _ frames This option lets you set the number of frames your MOTU interface will freewheel over when it encounters a time code drop-out. For a complete explanation of freewheeling, see your MOTU interface Users Guide. One time jam sync Choosing this option is like choosing innite freewheel. When you choose this option, your MOTU interface begins generating time code on its own indenitely as soon as it stops receiving incoming time code. And it will continue to do so until you stop it with the STRIPE button on the front panel. You can also stop it by changing the master sync mode or by enabling the Freewheel option in ClockWorks. MMC ID The MMC ID option lets you change the MMC (MIDI Machine Control) device ID of your MOTU interface. The factory default ID of your MOTU interface is 19. The only
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situation in which you really need to change it is if you are connecting two MOTU interfaces together. Otherwise, just leave it set to 19, and make sure that your MMC transport master controller device or computer software knows that your MOTU interfaces ID is 19. If you change your MOTU interface device ID for some reason, make sure that it does not match the ID of another device connected to it. LTC Output Level This row of buttons allows you to adjust the overall gain of the SMPTE time code from your MOTU interface LTC output jack. Click towards the left to reduce the level; click towards the right to increase it. This level control affects LTC output in all sync modes, including LTC, MTC, etc.
SMPTE READER
As a smaller, more compact version of the upper portion of the Sync/MMC window, the SMPTE Reader window provides a running update of the time code being generated or converted by your MOTU interface. Status information is continuously fed to the SMPTE Reader
from your MOTU interface via MIDI Time Code. It also provides valuable status information about your MOTU interface itself. The SMPTE Reader window The SMPTE Reader provides a running update of the time code being generated or converted by your MOTU interface. This running update is made possible by MIDI Time Code (MTC) generated by your MOTU interface and routed to the Macintosh. If the SMPTE Reader is not responding, make sure in the Device Settings & Routing window that the MTC Out port on the left is connected to the computer port on the right. The SMPTE Reader shows your MOTU interfaces current frame location in hours: minutes: seconds/ frames.
If you click the triangle in the lower left-hand corner of the window, an additional status display appears at the bottom of the window. This area shows what state your MOTU interface is in at any given time.
Opens the separate status window shown in Figure 6-39 on page 88.
Figure 6-38: The triangle along the left-hand side of the window opens and closes the status display at the bottom of the window.
SMPTE Reader status display The SMPTE reader status display can be opened by clicking the triangle in the lower left-hand corner of the SMPTE Reader, as shown in Figure 6-38. The status area provides detailed information about what state your MOTU interface is in as a synchronizer. The following sections provide a brief explanation of each term.
Figure 6-37: The SMPTE Reader provides a running update of your MOTU interface while it is generating or converting time code.
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The sync status area of the SMPTE Reader can also be opened as a separate window by clicking the question mark icon shown in Figure 6-38.
Needs Timebase This status indicator means that your MOTU interface is waiting to receive incoming signal from an external time base source from which it will derive a time base. When it successfully achieves lockup, it then displays Has Timebase. Has Timebase This status indicator means that your MOTU interface has established a stable time base. Youll see this indicator when one of the following is true:
your MOTU interface is in Internal mode
Figure 6-39: To open the Sync Status window, click the question mark icon shown in Figure 6-38.
Time base status The time base status readout tells you whether or not your MOTU interface is currently locked to a time base. The terms you will see here are:

your MOTU interface is set to receive external sync (MTC, LTC, word clock, etc.) and it has successfully achieved lockup with the external sync source.
Needs Timebase Has Timebase Getting Timebase
Getting Time base This status indicator is displayed briey while your MOTU interface is in the process of establishing lock-up to an external time base. It is an intermediate state and youll only see it briey.
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Frame lock/freewheel status This line in the status display tells you if your MOTU interface is frame-locked or if it is currently freewheeling. The terms you will see here are:

Actual Frame Rate This option only applies to a MOTU MIDI Timepiece AV interface. If you have one, refer to your MIDI Timepiece AV manual. Video Out Phase Lock This option only applies to a MOTU MIDI Timepiece AV interface. If you have one, refer to your MIDI Timepiece AV manual. Output phase lock When this status indicator is illuminated, it means that time code generated by your MOTU interface (MTC and LTC) is in sync with the current time base. Input frame phase lock When this status indicator is illuminated, it means that your MOTU interface has successfully achieved lockup with incoming LTC/MTC full frame messages. Input quarter frame phase lock When this status indicator is illuminated, it means that your MOTU interface has successfully achieved lockup with incoming LTC/MTC quarter frame messages.
Frame-locked Jam
Frame-locked This status indicator means that your MOTU interface is successfully locked to an external time base and that it is also successfully generating or converting SMPTE time code. Jam (MIDI Timepiece AV only) This option only applies to a MOTU MIDI Timepiece AV interface. If you have one, refer to your MIDI Timepiece AV manual. Timebase measure This option only applies to a MOTU MIDI Timepiece AV interface. If you have one, refer to your MIDI Timepiece AV manual.
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External time code detect When this status indicator is illuminated, it means that your MOTU interface has successfully detected external time code (MTC, LTC). Word clock stable When this status indicator is illuminated, it means that your MOTU interface has successfully achieved a stable time base rate from its internal time base or by determining the external time base rate.
Edit FreeMIDI Conguration The Edit FreeMIDI Conguration command in the Utilities menu launches the FreeMIDI Setup application (or switch to FreeMIDI Setup if it is already open) and display the current FreeMIDI Conguration. There is a Return command in FreeMIDI Setup (command-R) that will switch back to ClockWorks, if you entered FreeMIDI Setup using the Edit FreeMIDI Conguration command. If you are running OMS, this command launches the OMS Setup application. Select If you have other MOTU hardware connected to your Macintosh, such as multiple MIDI interfaces or a Digital Timepiece, this command lets you choose which piece of gear you want to be editing in the windows and menus of ClockWorks. This feature is similar to highlighting a device in the Device List window. Verify Network Causes ClockWorks to poll for MOTU MIDI interfaces and Digital Timepieces to detect what units are connected and obtain their basic hardware conguration.
UTILITIES MENU
Interface Settings Use the Interface Settings command in the Utilities menu to open the Interface Settings dialog box. This dialog box is the same dialog box that appears in other FreeMIDI applications and will control FreeMIDIs access to the serial ports of your Macintosh for all FreeMIDI applications. This dialog box allows you to enable and disable the two serial ports for MIDI.
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Reestablish communication This command makes ClockWorks perform a handshake with the MOTU interface currently being controlled with ClockWorks without polling it for all of its current settings. As a result, this command is faster than the Verify Network command. Reestablish Communication is grayed out unless ClockWorks has detected that one of your pieces of MOTU hardware has gone off line. Send Data To This command sends all of the current settings in ClockWorks to your MOTU interface (or the currently selected MOTU hardware in the Device List window.) This command is useful if your MOTU hardware has been turned off or disconnected while you were working with ClockWorks. This command updates the internal state of the hardware so that it matches what you have done in the software on the computer.
Set MTP 1 Default This command is grayed out unless an original MOTU MIDI Timepiece is currently on-line and selected in the Device List window. If so, it restores the MIDI Timepiece to its factory default state. AutoTech Assistant When AutoTech assistant is turned on (checked), ClockWorks will monitor the settings in all MOTU MIDI interfaces connected to your Mac to detect and resolve conicting settings. AutoTech will detect problems such as conicting MMC device IDs, other conicting MMC settings and sysex muting settings that will interfere with ClockWorks ability to communicate with the hardware. All Notes Off The All Notes Off command causes FreeMIDI to send out All Notes Off messages to all devices. In addition, it sends out a MIDI note off command for every note on every channel. As you can imagine, this is a lot of data, and it will take FreeMIDI a moment to transmit all of it! Just watch the front-panel LEDs, and when they nish ickering, then the operation is done.
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THE PRESETS WINDOW

The Presets window in ClockWorks (as shown in Figure 6-40) gives you an overview of information about all the presets. It lets you:

Assign a MIDI patch change number to each preset so that it can be called up from a sequencer, controller, or foot switch
Make modications to the preset settings
View an itemized description of each preset Change the names of the eight user presets
The status strip shows what preset is currently being loaded or saved. MIDI patch change numbers for each preset. If you want to change a number, click the text box and type the desired number. The range of values is 0 to 127. The script for (description of) the current preset. This list tells you all of the settings for the preset, such as cable routing and SMPTE settings.
The current preset
Click the name of the preset to select it in the MIDI interface itself. The current preset name is highlighted.
Figure 6-40: The Presets window.
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Selecting a preset One of the presets is always highlighted as shown in Figure 6-40, and the currently highlighted preset always matches the currently selected preset on the front panel of your Express interface. To switch to a different preset, choose it from your Express interface front panel or click the preset name in the Presets window. Viewing the preset script The preset script is an itemized list of settings for the currently selected preset. The script is shown in the righthand portion of the window with the name of the current preset shown at the top, as shown in Figure 6-40 on page 92.) The script is a comprehensive list of all of the interface settings for the preset. To add or change an item in the list, go to the appropriate window in the ClockWorks windows menu and make the change. The change will be automatically saved when you quit ClockWorks or switch to a different preset. (See Modifying a preset on page 96 for a complete explanation of how to modify a preset.)
Renaming user presets The factory preset names (the rst eight presets in the list) cannot be changed since they should always match the names of the front panel of your Express interface. Any user preset name, however, can be changed. To change the name of a user preset: 1 Double-click the name to pop-edit it. A pop-up box appears in which you can edit the text.
Figure 6-41: Naming a user preset. Factory preset names cant be changed.
2 Type the desired name. 3 Press return to conrm the new name or press command-period to cancel.
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SWITCHING PRESETS USING A PATCH CHANGE

Each preset has a MIDI patch change number assigned to it; the patch change number is displayed in a text box to the right of the preset in the Presets window as shown in Figure 6-40 on page 92. You can call up a preset using a MIDI controller or sequencer by sending a MIDI patch change event to your Express interface with the corresponding patch number value. For example, if you wanted to call up the Live Keyboards factory preset shown in Figure 6-40, you would send a MIDI patch change event with a value of 10. If you want to change the patch change number for a preset, click the text box and type in the new number. To get your Express interface to respond to the preset patch changes, you need to indicate where the patch change will be sent from. Well call this the preset trigger source: the MIDI channel your Express interface will listen to for preset patch changes. To specify the preset trigger source: 1 Choose Set preset trigger source from the Preset menu.
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2 When the Set Trigger Source dialog box appears, indicate the MIDI or serial port you would like to send the patch changes from.
Figure 6-42: The Set Trigger Source dialog lets you indicate the source of patch change messages that will call up your Express interface presets.
If you are going to use a MIDI controller, choose it from the input cable device pop-up menu. If you are going to change Express interface presets from computer software, check the computer box. The foot switch option lets you switch presets using patch change events sent by a foot switch. For information, see Switching presets with the pedal on page 102. Be sure to indicate the MIDI channel you will be transmitting the patch change on, too.
Sending patch changes from the Mac As you can see by the serial port options in the Set Trigger Source dialog box, your Express interface can receive patch changes from software running on the Macintosh. You should be careful, however, when choosing to do so because you can inadvertently switch the current preset. For example, you might have a patch change event in a sequencer track that you intended to call up a patch on a sound module. But if the patch number is the same as your Express interface preset, your Express interface will respond to it as well. To avoid this problem, you can use system exclusive data instead of patch change events to make Express interface preset changes from the computer. Your Express interface has a preset selection system exclusive message, which you can program into your sequencer instead of a patch change. Your Express interface preset select message is as follows: F0 00 00 33 08 22 00 00 xx F7
The xx byte species the preset number. Use the value shown in the table below. For example, to select the Live Keyboards preset, plug in 0B in the message to get: F0 00 00 33 08 22 00 00 0B F7 When you send this message to your Express interface, it will switch to the Live Keyboards preset.
Preset
Sequencer 30 fps Sequencer 25 fps Live Keyboards Merge All Merge Some Dual Split MIDI Machine Direct User Preset 1 User Preset 2
Hex number (xx)

09 0A 0B 0C 0D 0E 0F 10 01 02
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User Preset 3 User Preset 4 User Preset 5 User Preset 6 User Preset 7 User Preset 8
03 04 05 06 07 08
If a factory preset is selected when you make the modication, the change remains in effect until you switch to a different preset. Since the modication cant be saved with the factory preset (factory presets cant be modied), ClockWorks presents you with a window asking you if you would like to save the current state of the interface as one of the eight user presets:
MODIFYING A PRESET
You can change any settings of the currently selected preset in any window in ClockWorks. For example, you could add or delete a connection in the Device Settings & Routing window, change a setting in the SMPTE Controls window, or mute something in the Event Muting window. If a user preset is selected at the time you make the modication, the change is automatically saved with the preset. (Saving occurs when you switch to a different preset or when you quit ClockWorks.)
Figure 6-43: Saving the current state of your Express interface to one of the eight user presets.
Select one of the eight user presets from the pop-up menu, type in a new name for it if you like, and click OK. The modied factory preset gets saved as a user preset.
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You can invoke the Save Preset dialog shown above at any time by choosing Save Preset from the Presets menu.
WORKING WITH A FOOT PEDAL

This chapter explains how you can use a foot pedal with your Express interface to:
Generate MIDI data, such as notes, controllers, patch changes, pitch bend, and system exclusive data using a foot switch Use the foot switch to step through a series of MIDI data events (or groups of events) Use the foot switch to change the current Express interface preset or step through a series of presets Convert an audio tempo source (such as a click track) into MIDI data to slave MIDI hardware or software to the audio tempo source
Pedal window basics The pedal input is controlled by the Pedal window, which can be opened from the Windows menu. This window lets you indicate the type of input you are using (click input or foot switch). It also lets you choose what type of data will be generated.
Figure 6-44: The Pedal window.
Saving pedal settings as part of a user preset As with other ClockWorks windows, the settings you make in this window affect the current preset in your Express interface, and they will remain in effect until you change them or switch to a different preset. In addition,
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you can save these settings as part of one of the eight user presets. Each one of the eight user presets can have its own, unique pedal & click settings. For example, you could set up user preset 1 to handle a foot switch, while preset 8 could be set up for click-to-MIDI conversion. To save pedal and click settings with a user preset: 1 Select the preset. 2 Make the settings you wish in the Pedal window. The settings will be automatically saved when you quit ClockWorks or switch to a different preset. Using a foot switch You can use any standard momentary foot switch with your Express interface. Note, however, that your Express interface does not support expression foot pedals, which generate a continuous stream of data.
There are several types of momentary foot switches. Some are on when they are pressed; others are on when they are released. For simplicity, in this manual we refer to the type where on is pressed. A momentary foot switch triggers one MIDI event (or set of events) at a time, either when you press down on it or when you release it. With your Express interface, you can even program the foot switch to step through a series of MIDI events. For example, you might set up a series of MIDI patch changes that call up different sounds on your synths and then use the foot switch to step through them during a live performance, calling up the next sound each time you press the foot switch. Consecutive events dont have to be the same type of event. For example, you could send a patch change event to call up a sound, followed by a controller #7 with a value of zero to mute an instrument. The foot switch can even send more than one MIDI event at a time. For example, you could press the foot switch at the beginning of a new song during a live performance to
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have it select a sound (patch change event), set the correct volume (volume controller), and zero out pitch bend to begin at the correct pitch (pitch bend event of zero). The foot switch can also trigger a panic hit, sending note-offs to all output cables. Pedal setup overview Here is an overview of how to set up your Express interface to use a foot switch: 1 Be sure the foot switch is connected to your Express interface as shown in Figure 2-7 on page 14. 2 Open the Pedal window by choosing it from the Windows menu. 3 Choose Foot Switch from the Pedal type menu. 4 Set up the data to be sent using the controls in the bottom portion of the window. This is covered in detail in the next section, Setting up the foot switch output data.
5 In the Device Settings & Routing window, make connections from the foot pedal icon to the desired MIDI out port icons and computer icons.
Figure 6-45: Routing pedal data.
MIDI data that you generate with the foot switch can be sent to any device connected to your Express interface, including the computer (serial port A) and serial port B. 6 When you have nished setting up the data, you are ready to use the foot switch. See Sending data with the foot switch on page 101.
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Setting up the foot switch output data If you choose Foot Switch from the Pedal type pop-up menu, the window displays the data for the foot switch as shown in Figure 6-44 on page 97.
The data sequence list lets you build a series of MIDI data events. Here is a summary of what you can do:
To do this
To add a MIDI event that you want sent when you press the pedal down (on) To add a MIDI event that you want sent when you release the pedal (off) To add another MIDI event to either column To edit the settings of an event To add a new event that will be grouped with the event above it
Do this
Press on the arrow on the left-hand side of the Pedal On column. Press on the arrow on the left-hand side of the Pedal Off column. Press on the arrow on the left-hand side at the bottom of the list. Double-click the setting you wish to change. Press on a arrow anywhere in the group where the event should be inserted. The event is inserted where the arrow points. Click the event to select it and press the delete key. Click the square icon to the left of the row to select it and press the delete key. Press on a triangle and choose the PANIC item.
To delete an event To delete an entire row or group
To add a panic hit
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Sending pedal off data So far, weve only discussed sending pedal on data. That is, data which is sent when you press down on the foot switch. Your Express interface can also send pedal off data when you release the foot switch. In fact, you can program the list of data for both pedal on and pedal off data. Each time you press down, you send a pedal on event, and when you release you send a pedal off event. Keep in mind, however, that this could be a little awkward becausedepending on what you are doingyou may be required to hold your foot down for a while before sending the next event. To program pedal off data, add it to the Pedal Off column as discussed in the previous section, Setting up the foot switch output data. The Pedal Off list can have up to 47 bytes of pedal off data, just like the pedal on data, giving you a total of 94 bytes worth of foot switch data. Grouping data You can set up the list so that the pedal sends several MIDI events all at once. After you create the rst event, press on the arrow to its right to add a second event to the group.
You can continue to add more events to the group by clicking the right-hand arrow of any event in the group. The new event you insert will always be inserted just below the arrow you press on.
Click here to add another event to the group.
Figure 6-46: An example of grouping data events. In this example, the Pedal On group, a C major triad (notes C-E-G), is sent when the pedal is pressed a rst time. When the pedal is pressed again, Note-Off events are sent to silence the chord. (Note-off events are denoted by a grayed out note icon.) The status bar above the list indicates 18 bytes worth of pedal on data.
Sending data with the foot switch Once you have made the preparations described in the previous section, you are ready to use the foot switch. Just press it and release it. With each press, it will send out a group of MIDI events. When you press it again, it sends
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out the next event or group in the list. When you reach the last event or group, your Express interface returns to the beginning to step through the list again. If you have programmed pedal off events, it will send a MIDI event or group each time you release the foot switch as well, alternating between the Pedal On and Pedal Off data lists. Using both pedal on and pedal off events is an effective way to step through a series of events quickly. Rather than having to press down for each event, which involves two motions (up and down), you can use just one motiona quick press or release. Switching presets with the pedal The foot switch can be used to change to a different preset. For example, you might set up the eight user presets for various controller routings for a live show and then use the foot switch to step through the presets at various points during your live performance. Another benet of this feature is that it when you switch to a different preset, the new preset can have a completely different list of foot switch data events. You could then step
through them and at the end of the list switch to yet another preset with yet another list of events to step through. This is a great way to break the 94-bytes-perpreset limit on foot switch MIDI data. Each preset can have 94 bytes (47 pedal on bytes plus 47 pedal off bytes), and you can step through eight presets, which gives you a total of 752 consecutive bytes you can step through with a foot switch. To switch presets with a foot switch: 1 Open the Presets window. 2 Choose Set Trigger Source from the Presets window mini-menu. The Set Trigger Source dialog box appears.
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When you reach the patch change event in the list, youll switch to the new preset.
Make sure your preset patch change is the last event in the foot switch data list for the preset you are currently programming because when you switch to the new preset, the foot switch data list will change to the new presets list. Converting an audio click to MIDI Your Express interface can convert an audio click into any MIDI event. For example, the audio click can be played back from a tape deck or generated live by a drummer. This feature can be used for many purposes. Below are a few ideas:
3 Check the Foot switch option, choose a MIDI channel, and click OK. 4 Back in the Presets window, make note of the patch number for the preset you want to select with the foot switch. 5 Go to the Pedal window and add a Pedal On or Pedal Off MIDI patch change event with a patch change number that matches the preset you want. Also make sure the MIDI channel number matches. See Setting up the foot switch output data on page 100 for details.
Recording the clicks tempo map into a sequencer Slaving a sequencer to a click track Triggering drum samples
This feature can be used with MOTUs Digital Performer software to slave a sequence to prerecorded music on tape while referenced to SMPTE time code. For more information, please refer to the DP User Guide.
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To convert an audio click into MIDI: 1 Be sure that the audio click source is connected to the PEDAL phone jack on your Express interface as shown in Figure 2-7 on page 14. 2 Open the Pedal window from the Windows menu in ClockWorks. 3 Under Pedal Type, select Click-to-MIDI. The click-to-MIDI options appear.
4 Adjust the Threshold and Decay options as needed as you experiment with the response. The decay and threshold settings are meant to prevent doubled attacks. The decay is the amount of time your Express interface will wait before it begins scanning for another click. The decay can be set from 1 to 15. Set the decay as high (long) as possible to prevent false attacks, but low (short) enough so that it wont miss the next true click. Fast tempos require a low decay; you can afford to use a higher decay for slow tempos. 5 Under Convert click to:, choose the data type you wish to generate from the click. You have three categories here: Note, Controller, and Hex. The hex option lets you enter any MIDI event in its raw, hexadecimal form as shown below, with a status byte followed by data byte 1 and data byte 2.
Figure 6-47: The click-to-MIDI options.
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Figure 6-48: Entering click-to-MIDI data in hexadecimal.
Click input hints If your Express interface reads the audio click erratically, such as generating doubled attacks, try adjusting the decay value. If you still have trouble, try attenuating the audio signal. The pedal input is purposefully sensitive so that it can detect a low-amplitude signal. Also try adjusting the Threshold and Decay settings in the Pedal window. If you are creating the click that your Express interface will convert, set the audio level fairly high (at around 0 dB). Also, record a short, transient click sound with no reverb or other effects. A short and precise click sound will produce the best, most reliable results.
6 Make the desired output assignment for the MIDI click data using the pedal icon in the Device Settings & Routing window as demonstrated in Figure 6-45 on page 99. 7 Check to make sure that your Express interface is successfully reading the click. Observe the green MIDI OUT LEDs on the front panel to see if they ash in sync with the click. If they miss a beat, or if they seem to icker or stutter with a doubled attack, try adjusting the input level of the click; also try adjusting the decay.
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CHAPTER 7
OVERVIEW
Front Panel Presets

FACTORY VERSUS USER PRESETS
Your Express interface provides eight factory presets and eight more user presets. Factory presets are hard-wired and cannot be permanently changed. If a factory preset is the current preset, changes you make to your Express interfaces settings will not be remembered unless you save them to one of its eight user presets. The eight user presets can be congured any way you wish, and they can be stored in the interface hardware itself for later recall.
This chapter describes your MOTU Express interfaces eight factory presets and explains how to:
Select a factory preset or one of eight user presets from the front panel
Create your own user presets Use the Presets window in ClockWorks
Select presets using patch changes from any MIDI source (such as a keyboard controller or sequencer)
Factory versus user presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Selecting a preset on an Express XT . . . . . . . . . . . . . . . . . . . . . . . . . 107 Selecting a preset on a micro express . . . . . . . . . . . . . . . . . . . . . . . 108 Factory Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 User Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
SELECTING A PRESET ON AN EXPRESS XT

To select a preset from the front panel: 1 If you have a MIDI Express XT, press the BANK button as needed to choose either the factory preset bank or user preset bank. The Factory Preset or User Preset LED will become lit. 2 Repeatedly press the SELECT button until the LED below the program you want lights up.
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As you repeatedly press the button, the LED cycles through the eight programs.
MIDI Express XT front panel preset controls
SELECTING A PRESET ON A MICRO EXPRESS

To select a preset from the front panel: 1 Repeatedly press the SELECT button until the LED for the program you want lights up. 2 The SELECT button cycles through both the factory and user presets, as indicated by the red User LED and the green Factory LED.
micro express front panel preset controls
FACTORY PRESETS
The eight factory presets provide you with optimum cable routing, SMPTE, and other settings for various common situations in which you will use your Express interface. The eight factory preset settings are listed on the front panel as shown below:
Figure 7-1: The eight factory presets on the front panel of the Express XT and micro express.
Each factory preset is described in the following sections, including situations in which you would nd it useful.
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FRONT PANEL PRESETS
Sequencer 30 fps This preset is designed for MIDI software, especially sequencing software, that supports multi-cable interfaces such as your Express interface. Use this preset if you have Performer, Vision, Cubase, Logic, or any other MIDI software that supports multi-cable interfaces. This preset connects all inputs and outputs to the computer. In addition, it sets the SMPTE sync settings for lockup and striping at 30 frames per second (fps). Sequencer 25 fps This preset is identical to the Sequencer 30 fps above except that the frame rate is set to 25 frames per second (fps) for converting and striping at 25 fps. Live Keyboards Use this preset when you want to route any controller connected to a MIDI IN to all MIDI outputs. This preset is ideal for quickly routing a controller to a sound module and for using a MIDI controller without a computer. If you have connected both the MIDI IN and MIDI OUT of your keyboard controller to your Express interface, it is best to match the input/output MIDI port numbers on your
MOTU interface. For example, if the controller is connected to MIDI IN port 3, connect it to MIDI OUT port 3 as well. If you do so, this preset prevents troublesome MIDI feedback loops, which happen when the controller sends data back to itself via your Express interface. This preset avoids this problem by not sending data to the port that has the same number. For example, MIDI IN port 3 routes data to all MIDI OUT ports except MIDI OUT number 3. Merge All With this preset, any device connected to a MIDI IN will send data to all devices connected to your Express interface outputs, including the computer. This preset is ideal for troubleshooting because it routes everything to everywhere; any incoming data will be sent to all outputs. For example, if you are not getting sound from a sound module when you play notes on your controller, you can eliminate MIDI routing as the cause of the problem by temporarily using this preset. You can rest assured that your Express interface is routing the data to the module
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FRONT PANEL PRESETS
correctly, and you can then focus your efforts on other possible causes, such as bad MIDI cables, volume settings, etc. Use this troubleshooting technique if you cannot successfully record data into your sequencer on the computer. Merge Some The Merge Some preset is similar to the Merge All preset, except that it divides the inputs into two groups: inputs 14 (1-2 on the micro express) are routed to the computer only, while inputs 5-8 (3-4 on the micro express) are routed directly to all outputs (but not the computer). Dual Split The Dual Split preset is similar to the Live Keyboards preset, except that it splits the interface into two sets of inputs and outputs. For the micro express, input 1 is routed to outputs 1-3. Input 3 is routed to outputs 4-6.
For the Express XT, input 1 is routed to outputs 1-4. Input 5 is routed to outputs 5-8. MIDI Machine/for the Express XT This preset provides MIDI data, time code, and MIDI Machine Control settings for using MIDI Machine Control between devices without a computer. Inputs 1-4 are reserved for non-MMC devices being routed to outputs 1-5, as well as the computer. Input 5 is also routed to the computer but not to any of the MIDI outputs. MIDI outputs 6, 7 and 8 are reserved for MIDI Machine devices, as these ports are programmed to receive MIDI Time Code and MMC transport commands from the MIDI Express XT. MIDI inputs 6, 7 and 8 are intended for MMC controller devices, and they are each programmed slightly differently to accommodate three different scenarios. Input 6 routes
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FRONT PANEL PRESETS
MIDI data only to outputs 6, 7 and 8. Input 7 routes MMC to the MIDI Express XT only. Input 8 does a combination of inputs 6 and 7. MIDI Machine/for the micro express This preset provides MIDI data, time code, and MIDI Machine Control settings for using MIDI Machine Control between devices without a computer. Inputs 1-2 are reserved for non-MMC devices being routed to outputs 1-4, as well as the computer. Input 3 is also routed to the computer but not to any of the MIDI outputs. MIDI outputs 5 and 6 are reserved for MIDI Machine devices, as these ports are programmed to receive MIDI Time Code and MMC transport commands from the micro express.
MIDI inputs 3 and 4 are intended for MMC controller devices, and they are each programmed slightly differently to accommodate several different scenarios. Input 3 routes MMC to the micro express only. Input 4 routes MIDI data only to output 6. Direct This preset causes your Express interface to function like a simple 1 IN/8 OUT or 1 IN/ 6 OUT MIDI interface, respectively. All of the extra routing, merging, muting, rechannelizing, and running status features are disabled. Your Express interface applies no processing whatsoever to MIDI data as it is sent to and from the computer. This mode is referred to as Direct Connect mode through this manual. Input 1 connects to the computer, and the computer connects to all 8 (or 6) outputs. But none of the inputs are connected directly to the outputs. This preset can be used effectively to solve problems with non-standard MIDI data transfers. For example, some samplers transmit sample dumps in a way that wont work
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FRONT PANEL PRESETS
when your Express interfaces MIDI processing features are enabled. This mode disables the processing features, which solves the problem. If you experience trouble with sysex, try this preset.
ClockWorks cannot communicate with your Express interface when it is in Direct mode. To restore communications, use the front panel controls to choose another preset.
USER PRESETS
Your Express interface provides eight user presets, which you can congure any way you wish. From the factory, these eight user presets match the eight Factory presets described earlier in this chapter. To change one of the eight user presets, use ClockWorks as described in chapter 5, ClockWorks For Mac OS X (page 29) or chapter 6, ClockWorks for Mac OS 9 (page 53) to modify and save the user preset in your Express interface itself. Optionally, you can also save it on your computer hard disk.
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FRONT PANEL PRESETS
CHAPTER 8
OVERVIEW
Synchronization
IF YOU ARE NEW TO SMPTE SYNC
If you are not familiar with the process of synchronizing with SMPTE time code, see Appendix B, SMPTE Synchronization Basics page (139)before reading this chapter. It provides a denition of SMPTE time code and an explanation of how it is used for synchronizing MIDI devices to audio and video equipment.
This chapter explains how to use your MOTU Express interface to synchronize computer software and other devices to an audio tape recorder (ATR), video tape recorder (VTR), or other time code sources using SMPTE time code. It also explains how to generate SMPTE (a process commonly referred to as striping). This chapter also explains how to: Slave your Express interface and other devices to MIDI Time Code

ACCESSING SYNC SETTINGS

You can access the sync settings in your MOTU interface via ClockWorks. See Synchronization and MIDI Machine control on page 41 and Sync tab settings on page 44 for details. (If you are running Mac OS 9, see Sync and MIDI Machine Control on page 78 and SMPTE Reader on page 86.)
Measure incoming time code to see how fast or slow it is Solve various SMPTE synchronization problems
If you are new to SMPTE Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Accessing sync settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Syncing your Express interface to SMPTE . . . . . . . . . . . . . . . . . . . 113 Slaving a Sequencer to SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Striping SMPTE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 LTC mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 MTC Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
SYNCING YOUR EXPRESS INTERFACE TO SMPTE

Your Express interface ships from the factory ready to lock the computer to SMPTE time code via the MIDI Time Code (MTC) routing shown below:
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When your Express interface locks to the time code, the green LOCK LED on the front panel glows steadily and the red TACH LED blinks regularly. In addition, the green computer OUT LED glows steadily, indicating that MIDI time code (MTC) is being sent to the computer.
Figure 8-1: The connection from the MTC out port to the computer in port delivers MIDI Time Code from the Express interface to software running on the computer. (If you are running Mac OS 9, this connection is shown in Figure 6-20 on page 71.)
Red TACH light
Green LOCK light
When this MTC routing is present, your Express interface will send MIDI Time Code to the computer as soon as it achieves lockup to the incoming time code. Any software running on the computer including ClockWorks can then slave to the time code. (Make sure the software is set up to lock to MIDI time code.)
Figure 8-2: Converting time code. When your Express interface converts incoming time code, the red TACH light blinks, the green LOCK light glows steadily, and the green Computer I/O light glows steadily as well.
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S Y NC H RO NIZ AT I ON
If the LOCK and TACH lights do not behave as described, your Express interface is not successfully locking to the SMPTE time code. This could be a problem with the audio connections between the tape deck and your Express interface. It could also be that the SMPTE level is not high enough. See Appendix C,Troubleshooting and Customer Support page (147). If the LOCK and TACH lights look OK, but the green computer OUT LED is not glowing, this means that your Express interface settings have been altered somehow such that it is not sending MIDI time code to the computer. To correct the settings, see Figure 8-1. Time code display ClockWorks displays a running update of time code when the Express interface is converting time code. Routing MIDI Time Code to other devices At times, you may need to route MIDI Time Code to a device connected to one of your Express interfaces MIDI OUTs. To make time code routings such as these, see The MTC In and MTC Out connections on page 34 (or page 70 for Mac OS 9 users).
Freewheeling to avoid time code dropouts When your Express interface encounters a drop-out a series of missing or unreadable framesin the SMPTE time code, it freewheels past them, pretending that they were not missing by briey generating its own code to make up for the missing frames. The default freewheel value is 4 frames. This means that your Express interface will continue to generate time code for four more frames after it stops receiving time code. If it does not receive any more time code after four frames, it will stop converting. The factory default base setups have the freewheeling feature set to 4 frames for fastest response when you stop the tape deck. The Freewheel amount can be adjusted up to 32 frames. This allows your Express interface to maintain lockup even over lengthy SMPTE drop outs. If you encounter a time code drop out that causes your Express interface to stop converting for a moment, try increasing the freewheel amount in ClockWorks. Try adding just a few frames at a time when adjusting the amount.
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SY NC H RONIZ A T ION
your Express interface freewheels at the frame rate it is reading at the time it begins freewheeling except for 29.97 drop and non-drop. If you intend on reading 29.97 SMPTE, be sure to manually set the SMPTE format to 29.97 so that freewheeling will occur at the proper rate. When you increase the freewheel amount, you also increase the amount of time that your Express interface keeps converting when you stop tape. To make your Express interface as responsive as possible, only raise the freewheel amount as high as necessary to overcome the drop-out(s) you are encountering. Synchronizing to discontinuous time code your Express interface has the ability to stay in sync with discontinuous time code that is, time code that has no gaps in it but does have jumps in its frame locations. For details about how to do this, see Frame lock on page 44 (or page 84 for Mac OS 9 users).
SLAVING A SEQUENCER TO SMPTE

To slave a sequencer to SMPTE time code via your MOTU Express interface: 1 Conrm that the Express Interface is successfully locking to incoming time code and transmitting MIDI Time Code to the computer, as explained earlier in this chapter. 2 Set up your software to slave to MIDI Time Code. Consult your software documentation for details. Slaving Digital Performer to SMPTE To slave Digital Performer to SMPTE time code (LTC) via your MOTU Express interface: 1 In Digital Performer, choose Receive Sync from the Setup menu (Basics menu in the OS 9 version). 2 Make sure the Sync to port menu is set to Any Port or the name of the interface.
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Figure 8-3: The Sync to Port menu.
3 Set the Type of Sync to MTC. Choose the SMPTE frame format that matches the format you are converting with your MOTU interface.
Figure 8-4: In Digital Performers receive sync dialog, choose MTC and choose the SMPTE frame format that matches the setting in your MOTU MIDI interface (which should also match the time code).
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STRIPING SMPTE
Along with its other capabilities, your Express interface is a SMPTE time code generator. It generates an audio form of SMPTE time code called Longitudinal Time Code (LTC). Use the procedure below to generate new code from scratch: 1 Make the audio cable connections shown in Figure 2-6 on page 13. We recommend that you do not pass the time code output from your Express interface through a mixer or any form of signal processor. If you must go through a mixer, be sure equalization is at. 2 Launch Clockworks (or, under Mac OS 9, the Express Console software). 3 In the Sync tab (or, under OS 9, in the Sync/MMC window) set the sync mode to Internal.
4 If you are recording time code on a tape deck, and your tape deck has dbx noise reduction, be sure to defeat the noise reduction on the track you are recording time code. 5 Enter a SMPTE start time. 6 Choose the desired frame rate. 7 Adjust the SMPTE output volume. The goal when striping SMPTE is to get the VU meter on the tape deck to read approximately 3. If you want to test the level, set the clock mode to Internal and use the Start and Stop buttons to make your Express interface generate time code, and then meter it with your mixer. 8 Roll tape. 9 Click Start. Striping will begin at the frame you specied in ClockWorks. The time code display will begin to roll. While striping, you can switch to another tab, or even Quit ClockWorks.
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10 To stop striping, click Stop. You can stop striping at any time. Of course, if you want to stripe a tape and meanwhile get on with other work, you can quit ClockWorks. Striping will proceed in the background. Striping SMPTE on a multitrack tape deck The goal when striping SMPTE time code is to generate an error-free signal strong enough for reliable lockup, but not so strong that the SMPTE bleeds through to adjacent tracks. There are several ways to handle this. One way is to leave an empty track on your multi-track tape deck as a buffer between the SMPTE and other tracks. With a buffer track, SMPTE can be recorded at very strong (hot) levels (above 0 VU) without risk of bleedthrough. If your tape deck has no tracks to spare, a good level at which to record is around 3 VU. That is, the VU meter for the SMPTE track on your tape deck should read 3 when you stripe the SMPTE. This records SMPTE that is hot
enough for reliable lockup and weak enough so that it will not bleed into adjacent tracks. -3 VU is only a rule of thumb, though, so dont hesitate to use other levels if they work better for you.
LTC MODE
In LTC mode, your Express interface locks to incoming SMPTE time code received on its SMPTE IN jack. But LTC mode differs from LTC QuikLock mode (page 43) in several signicant ways. In LTC mode, your Express interface:
Emits regenerated LTC on its SMPTE OUT jack
Analyzes incoming time code and responds in several useful ways, depending on what happens to the incoming time code Measures incoming time code with an extremely accurate internal clock to see how fast or slow it is running and displays the results in the SMPTE Reader window in ClockWorks
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Because LTC mode employs a sophisticated phase-lock synchronization engine in your Express interface, the amount of time it takes to establish lockup to incoming time code is longer than LTC QuikLock mode. On the other hand, LTC mode offers the additional capabilities mentioned above. These features, and how you can use them, are discussed in the next few sections. Regenerating fresh time code (jam syncing) SMPTE is a problem when you are copying tapes: it degrades rapidly every time you try to copy it from one tape to another. Often, the SMPTE signal deteriorates so much that it will not be recognizable by any SMPTE-toMIDI converter, including your Express interface, and you will no longer be able to lock to it. The solution to this problem is to use your Express interface to regenerate fresh SMPTE time code that matches the original time code while you are copying the tape. Some people refer to this process as jam syncing. When your Express interface receives a SMPTE signal on its SMPTE IN cable, it always regenerates a fresh signal
that exactly matches the incoming signal and sends it out the SMPTE OUT cable (except for drop-outs, which it eliminates with freewheeling).
Fresh SMPTE Time code
Original SMPTE Time code
MIDI Express XT or micro express
To regenerate SMPTE: 1 Connect the original SMPTE track to the SMPTE IN on your Express interface, and connect the SMPTE OUT from your Express interface to the destination SMPTE track (which could even be on a different tape deck).
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2 Set the freewheel option in the Sync/MMC window to a high enough number of frames to cover any drop outs that may exist in the current time code. Try setting it to between 2 and 8 frames, unless there is an obviously large dropout. If so, set it more than 8 frames. This ensures that drop-outs in the old code are not reproduced in the fresh code. 3 Roll tape and set the SMPTE volume levels. When your Express interface is reading the old time code, it generates fresh time code via its SMPTE OUT jack only when it is in LTC mode; it wont regenerate LTC in LTC QuikLock mode. 4 When the levels are set, roll tape and convert as normal. your Express interface automatically creates fresh SMPTE time code that matches the original time code and its relation to the other tracks on the tape. In addition, your Express interface freewheels over drop-outs in the old time code so that the new, clean code has none.
Lengthening a SMPTE track If the time code on your SMPTE track ends too early and you need to add more code, you can use the One time jam sync option. To do so, feed the original track into your Express interface and record the fresh code onto a new track. Be sure to start from the beginning so that you regenerate the entire length of the original track. When your Express interface reaches the end of the original SMPTE track, it will begin striping on its own. To stop striping, click the Stop button or wait until your Express interface reaches the stop time. And remember, your Express interface must be in LTC mode to do this, not LTC QuikLock. Regeneration and time code bits Except for when it is in LTC QuikLock mode, your Express interface always regenerates fresh time code from its SMPTE out jack. Time code user bits embedded in incoming LTC on its SMPTE input are not preserved.
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MTC MODE
Choose this synchronization mode when you want your Express interface to slave to MIDI Time Code (MTC) being sent from a device connected to one of its inputs. This mode offers the least amount of time base stability, so it is recommend that you try to set things up so that you can use one of the other modes. When your Express interface operates in MTC mode, it locks to any MTC coming from your computer. In doing so, however, it also swallows the MTC coming from the computer. If you attempt to transmit MTC from your host software to a specic MIDI device in your studio, it wont reach the MIDI device because it will get read and swallowed by your Express interface. Since computergenerated MTC is not as stable as other forms of time code, you are better off doing just the opposite: send MTC from your Express interface to the computer, and if necessary, control your Express interface from your computer software via MIDI Machine Control as demonstrated in Figure 9-1 on page 126.
If you absolutely must transmit MTC from your computer for some reason, See Routing MTC to your MOTU interface on page 34 (or page 71 for Mac OS 9 users) for important information about routing MTC to your Express interface.
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CHAPTER 9
OVERVIEW
MIDI Machine Control

HOW MMC WORKS
An MMC controller (which has transport and cueing controls) sends transport commands (play, stop, cue, etc.) to an MMC device that is serving as a time code source. When the MMC device responds to the transport commands, it generates time code to which all other devices (and software) chase and lock. The other devices do not need to be MMC devices, as they sync in the usual fashion via time code (LTC or MTC). A recommended setup for MMC The best scenario for MMC is to set the Master sync mode of your Express interface to Internal. Your Express interface serves as the time code source, and your computer software (or hardware MMC controller) serves as your MMC transport control master. The MMC controller sends play, stop, start and locate commands to your Express interface, and all other devices (including the computer software) chase and lock to time code being generated by your Express interface. In essence, your Express interface serves as a time code hub for all other devices as pictured in Figure 9-1 on page 126.
Your Express interface can serve as a MIDI Machine Control (MMC) transport control hub for all MMCcompatible devices, allowing you to manipulate the transport controls of everything from one master set of controls: either an MMC hardware controller device such as JL Coopers CuePoint or from MMC-compatible MIDI software on the computer.
How MMC works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Setting MMC device IDs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Setting up other MMC devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Preparing software for MMC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 Using software as an MMC controller . . . . . . . . . . . . . . . . . . . . . . . 126 Using an MMC control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129 Using other devices as a controller . . . . . . . . . . . . . . . . . . . . . . . . . . 130
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Other MMC scenarios In the recommended scenario described in the previous section, your Express interface receives MMC transport commands and serves as the time code master for everything else. Alternately, you could choose another MMC device, such as a hard disk recorder, to receive transport commands and serve as the time code master. For example, the device would receive transport commands from your computer software and generate SMPTE time code (LTC). In this case, you would set your Express interface master sync mode to LTC QuikLock and feed the LTC into your Express interface, which would then drive all other devices. There is no advantage to doing MMC this way; in fact, it will probably not provide as stable a time base as your Express interface does in the recommended scenario described in the previous section. You should only really use this setup if you have a MMC device that does not have the ability to be a time code slave and therefore must be the master.
MMC and video If you are working with video, and you want MMC control of your rig from your computer software (or MMCcompatible controller) via your Express interface, your video deck needs to have the ability to either:
Synchronize to external SMPTE time code
OR
Support MMC
Without either of these capabilities in your video deck, your Express interface has no way to control the video deck transports. Youll instead have to use your video deck as the transport and time code master. If your video deck supports the SONY 9-PIN protocol, consider purchasing MOTUs Digital Timepiece, which lets you control your video deck from a computer (or other MMC controller).
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MIDI MACHINE CONTROL
SETTING MMC DEVICE IDS

Each MMC device requires a unique MMC device ID, including your Express interface itself. The factory default ID of your Express interface is 19. If needed, you can change it as shown in Figure 5-8 on page 41 (or Figure 6-36 on page 83 for Mac OS 9 users).
SETTING UP OTHER MMC DEVICES

If you have an MMC-compatible device, you can slave it to your Express interface. But rst, you need to make your Express interface send MTC (or LTC for some devices). To send MTC, use the Routings tab (or Device Settings & Routings window in under Mac OS 9) in ClockWorks to make connections from the MTC Out port in the left-hand column to the desired destinations in the right-hand column as demonstrated in Figure 8-1 on page 114 (or Figure 6-19 on page 70 for Mac OS 9 users). For most MMC devices that support being an MMC slave, routing time code (either MTC as just discussed or LTC) to them is all you need to do. For some devices, you may also need to get your Express interface to send MMC transport commands to the device. Once again, you do
this in the Routings tab (or Device Settings & Routings window in under Mac OS 9): connect the MMC Out port in the left-hand column to the destinations in the righthand column as demonstrated in Figure 8-1 on page 114 (or Figure 6-19 on page 70 for Mac OS 9 users). Then you are ready to control your MMC device via your Express interface from the computer (or a hardware MMC controller).
PREPARING SOFTWARE FOR MMC

Regardless of what you decide to use as your MMC transport control master (an MMC controller device or computer software), you need to set up the software so that it will slave to MIDI Time Code (MTC) generated by your Express interface. This will ensure that your software chases and locks with all other MMC devices. Check to make your software is set up to the proper frame rate, and that it is in external sync or slave mode, waiting for MTC.
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MID I MA C H INE C ONT ROL
USING SOFTWARE AS AN MMC CONTROLLER

Most likely, youll want to establish your computer software as the MMC transport control master, so you can control all MMC devices from your computer, allowing you to play, stop, and cue all connected devices directly from your softwares main transport controls. This can be accomplished with an MMC-compatible sequencer, MMC applet, or any other software that transmits MMC transport control commands. Your MOTU MIDI interface has the ability to serve as a MMC transport slave, while at the same time generating time code for other devices in your studio. In doing so, the MOTU interface becomes a central, stable time code hub for all of the devices in your studio, allowing you play, stop, and cue them all directly from your sequencer.
MIDI Machine Control (MMC) Digital Performer
MIDI Time Code (MTC)
MOTU MIDI interface
SMPTE (LTC)
MIDI Time Code (MTC)
Examples of devices that can slave to time code Akai DR8 Roland VS-880
Figure 9-1: Your MOTU interface (a MIDI Express XT in this example) can serve as a time code hub while you control it from your sequencer via MMC transport commands.
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Once you have successfully established overall MIDI communication between your software and your Express interface, follow these steps to set up your software to serve as the MMC transport controller: 1 Set up your software to sync to MIDI Time Code as described in the previous section (Preparing software for MMC on page 125) 2 Tell your MMC software what the MMC Device ID is of your Express interface. From the factory, the default MMC device ID for your Express interface is 19. If you need to, you can change it as described in Setting MMC device IDs on page 125. 3 Make the MMC routing connection show below (or in Figure 6-22 on page 72 for Mac OS 9 users) from the computer to your Express interface.
Figure 9-2: To establish MMC control of the Express interface from your software, make this connection in the Routings tab.
4 Set the Express interface master sync mode to Internal. your Express interface will respond to MMC commands coming from the computer specifying its device ID. It will start, stop, and locate to any SMPTE location you designate from your software. Routing time code to other devices Once you have successfully established MMC control of the MOTU Express interface as described in this chapter, you can route MIDI Time Code (MTC) from the MOTU
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Express interface to other devices in your studio to control them remotely from your sequencer, as shown in Figure 9-1 on page 126. Just drag a connection from the MTC port to the devices MIDI out port in the right-hand column as demonstrated in Figure 5-3 on page 35 (or Figure 6-21 on page 72 for Mac OS 9 users). MMC control of record functions Some sequencers provide MMC remote control of record features, such as record-arming tracks, setting automatic punch-in and punch-out points, punching in on the y, and so forth. The MOTU interfaces MMC capabilities, however, do not come into play with record functions such as these. It only handles MMC transport functions like playing, stopping, and locating. For MMC record functions, the MOTU interface serves only a means of passing on MMC record commands from your sequencer and the MMC device. Just send them directly to the appropriate Windows MIDI port.
MIDI Machine Control with Digital Performer Digital Performer automatically handles all of the MIDI Machine Control window setup chores for your MOTU MIDI interface/synchronizer when it is detected as a connected interface.
Turn on MMC here. Make sure the MOTU Express interface is Online.
Figure 9-3: Digital Performer automatically congures its MIDI Machine Control window (in the Studio menu or in the Windows menu under Mac OS 9) when a MOTU MIDI interface/synchronizer is detected.
MMC control of record functions For information about setting up remote control of the record functions of MMC devices connected to the MOTU Express interface, see your Digital Performer manual.
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Enabling MMC in Digital Performer Once you have made the preparations outlined in the previous sections, you are ready to enable MMC control between Digital Performer and the MOTU Express interface. For complete details, see your Digital Performer manual. For convenience, a brief summary is provided below: 1 Turn on the MMC control button as shown in Figure 9-3. 2 As shown in Figure 8-4 on page 117, open Digital Performers Receive Sync dialog and prepare Digital Performer to slave to MIDI Time Code (MTC) at the desired frame rate (which needs to match the MOTU MIDI Express interfaces frame rate). 3 Set the SMPTE start time for the sequence. Now, just cue Digital Performer anywhere you like and press play. This sends a play command to the MOTU MIDI interface/synchronizer, which starts the MMC slave device and begins sending time code to Digital Performer,
syncing everything together. You can stop, play, and cue anywhere you like in Digital Performer and your MMC slave device will chase, play and record accordingly.
USING AN MMC CONTROL SURFACE

To use any MMC-compatible control surface product, such as the JL Cooper CuePoint: 1 Connect the MIDI OUT and IN jacks on the MMC controller to your Express interface. 2 Using ClockWorks, route MTC to the MIDI OUT port that the MMC controller is connected to as shown in Figure 5-3 on page 35 (or Figure 6-21 on page 72 for Mac OS 9 users) so that it can receive MIDI Time Code from your Express interface. 3 In the MMC controller device, identify the MMC device ID for your Express interface. From the factory, the default MMC device ID for your Express interface is 20. If you need to, you can change it as described in Setting MMC device IDs on page 125.
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From the standpoint of achieving MMC transport control over your Express interface, the above preparations are all you need. There may, of course, be other preparations necessary in the controller itself.
USING OTHER DEVICES AS A CONTROLLER

We recommend trying to set up MMC as described in A recommended setup for MMC on page 123. However, you may have an MMC device, such as an MMC-equipped reel-to-reel tape deck, that does not have the ability to be a time code slave and therefore needs to be the time code master. In this case, you need to set up your Express interface so that it knows that this device will be the master instead of the computer. If the device transmits LTC, you can simply connect it to your Express interfaces SMPTE input and set your Express interfaces master sync mode to LTC QuikLock. If the device only transmits MIDI Time Code (MTC), make the connection shown below in Figure 9-4 and set your Express interfaces master sync mode to MTC.
Figure 9-4: If you have an MMC device that can only transmit time code (and cannot be a time code slave), then you can make it the time code master by routing MTC to your Express interface (MTC In) as shown here. It is better to use LTC, though, or better yet: your Express interface as the time code master. Both are a more stable time base than MTC.
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All Users
Part III Appendices
APPENDIX A
Glossary
CRT: Cathode Ray Tube. The glass screen in TVs, computers, etc. upon which video images are projected. Crosstalk: Interference on a track from the signal of an adjacent track on a multitrack tape recorder. Default: An initial value or conguration. Drop Frame: A SMPTE time code format used to
compensate for an accumulating timing error in color video. Drop Frame skips two frames at the beginning of each minute (except every 10th minute) as it counts color video frames. The result is that the SMPTE time code values match the actual elapsed time, since color video runs slower (29.97 frames per second) than black and white video (30 frames per second). Drop-frame is required only with color video programs in which the SMPTE time code numbers must precisely match the actual elapsed time.
Address Track: A third audio track, used for time code, located on the edge of the video signal on a 3/4 VTR. Because of its proximity to the video signal, the address track cannot be recorded by itself; it must be recorded simultaneously with the video signal. ATR: Audio Tape Recorder. A device that can record an
audio signal on audio tape.
Burn-in Window: A numeric display of time code superimposed over the video picture to aid in the postproduction editing process. Cable routing: An internal connection from one of the Express interfaces MIDI IN ports to one or more of its MIDI OUT ports. Control Track: A video tape track located at the edge of the
video tape containing a series of pulses that serve as a reference tracking the tape speed. This track is recorded with the video signal.
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Drop-out: A brief period of missing information in a continuous signal, such as a video signal or SMPTE time code signal. Drop-outs are usually caused by small, physical imperfections in the surface of the tape on which the signal is recorded. Flywheeling: Another name for Freewheeling. See
Freewheeling below.
Guard Track: An empty track adjacent to the LTC track on a multitrack tape recorder. A guard track prevents crosstalk from another track, which can interfere with the time code and cause synchronization problems. Hard Record: A mode on a VTR that erases and records all
tracks simultaneously.
Freewheeling: A process in which a synchronizer, such as

the MIDI Express XT, continues to generate time code even when it encounters drop-outs in a time code source. Converters may briey lose synchronization during a drop-out and, in turn, momentarily stop converting time code. The MIDI Express XT can freewheel up to 32 frames, making it insusceptible to drop-outs.
Horizontal Blanking: A short period of time in the video display process in a CRT when the electron beam is shut off to retrace to the next horizontal scan line (similar to a carriage return on a typewriter). House Sync: A process in which all video equipment in a
studio is connected to and genlocks to a single video sync generator.
FreeMIDI: A Mac OS 9 system extension developed by

MOTU. FreeMIDI provides centralized, comprehensive MIDI system management under Mac OS 9.
Input cable: One of the eight (or sixteen) MIDI IN jacks in a MIDI Time Piece network. Insert Record: A mode on a VTR that records on the video
tracks without recording on the audio tracks, or vice versa.
Genlock: A process in which a video generator (graphics, picture, or VITC) is locked in phase with an external source.
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APPENDIX A: GLOSSARY
Jam Sync: The process of creating fresh, error-free time

code or extending existing time code on tape by locking a time code generator to existing code.
MTC: MIDI Time Code. A form of time code, digitized

within the MIDI format, that expresses time in hours, minutes, seconds, and frames, just like SMPTE time code (LTC and VITC).
LTC: Longitudinal Time Code. The Society of Motion

Picture and Television Engineers (SMPTE) time code format, expressed in audio form as an 80-bit binary audio signal, that describes the location of each frame on lm, video, or audio tape in hours, minutes, seconds, and frames. LTCs video counterpart is VITC (Vertical Interval Time Code), which is the same time code format in the form of a video signal. In audio production, LTC is often referred to as SMPTE or SMPTE time code since VITC is seldom used.
Network: Two MIDI Time Pieces connected via their

NETWORK serial ports with a mini-DIN 8 cable.
Non-drop Frame: A SMPTE time code format that does

not drop any frames. Its counterpart, Drop Frame, skips over the rst two frames of every minute (except every 10th minute). Non-drop is the least confusing format and should be used unless Drop Frame is required. Dropframe is required only with color video programs in which the SMPTE time code numbers must precisely match the actual elapsed time.
MIDI: Musical Instrument Digital Interface. An

information protocol developed in the early 1980s by synthesizer and electronic instrument manufacturers to allow devices to communicate musical performance data to one another.
NTSC: National Television Systems Committee Format. A

system of coding color information for broadcasting television formulated by the NTSC. NTSC uses 30 frames per second for black and white and 29.97 frames per second for color.
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Output cable: One of the eight (or sixteen) MIDI OUT jacks in a MIDI Time Piece network. PAL/SECAM: Phase Alternate Line. A system of coding color information that is similar to (but incompatible with) NTSC format. PAL/SECAM uses 25 frames per second. Script: An itemized description of the commands that
make up a base setup or modier. The script is displayed in the Setups & Modiers window when the setup or modier is selected.
two forms: 1) an 80-bit audio signal, called Longitudinal Time Code (LTC), or 2) a video signal recorded in the vertical blanking segment of video frames, called Vertical Interval Time Code (VITC). In either form, SMPTE Time Code has four different formats for counting frames per second (fps): 24 fps, 25 fps, 30 fps, and Drop Frame. 24 is used mostly with lm; 25 is a European format for lm; 30 is the US standard for audio and video; Drop Frame is required only with color video programs in which the SMPTE time code numbers must precisely match the actual elapsed time.
Sequencer: A computer or software running on a

computer that is capable of recording and playing back MIDI data.
SMPTE-to-MIDI Converter: A device that reads SMPTE

time code from audio or video tape and converts it to MTC or DTL to synchronize MIDI devices to tape.
SMPTE: Society of Motion Picture and Television Engineers.

The acronym SMPTE is often used in audio production as a shorthand expression for SMPTE Time Code.
Striping: The process of recording SMPTE time code. Switcher/Special Effect Generator: A machine that takes
multiple video input signals and routes them to a variety of destinations to add special effects such as dissolves.
SMPTE Time Code: A series of binary impulses that

express the location of each frame on lm, video, or audio tape in hours, minutes, seconds, and frames. SMPTE has
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Synchronizer: A device that reads time code from audio or

video tape and is used to synchronize the timing of two or more devices.
Vertical Blanking: The area on video tape between video

frames, which can be seen as the black bar above or below the picture when the vertical hold is adjusted. This area is where VITC can be recorded.
Time Code Generator: A device that is capable of producing LTC, VITC, or both. Time Code Window: A display of SMPTE time code numbers on a video screen. Universal Serial Bus: An industry standard for connecting
peripheral devices to computers.
Video Field: One half (1/60th of a second) of a complete video scanning cycle (one video frame), which consists of 525 video scan lines. One video eld consists of the oddnumbered scan lines; the other consists of the evennumbered scan lines. Video Frame: One complete video scanning cycle, which
consists of two video elds.
USB: See Universal Serial Bus. User Bits: 32 unassigned bits in the 80-bit SMPTE time
code word that have been set aside by the Standards Committee of SMPTE for users to place their own information in the time code, such as the shooting date, take identication, reel number, and so on.
VITC: Vertical Interval Time Code. The Society of Motion

Picture and Television Engineers (SMPTE) time code format, expressed in video form as binary video signal recorded in the vertical blanking segment between frames, that describes the location of each video tape frame in hours, minutes, seconds, and frames. VITCs audio counterpart is LTC (Longitudinal Time Code), which is the same time code format expressed in the form of a binary audio signal.
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VTR: Video Tape Recorder. A device that can record a video

signal onto video tape.
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APPENDIX B
OVERVIEW
SMPTE Synchronization Basics

WHAT IS SYNCHRONIZATION?
Synchronization is the occurrence of two or more events at exactly the same point in time. In regard to SMPTE and MIDI, it is the process of making MIDI devices, such as a MIDI sequencer, precisely follow one another as they play back. For example, when a tape deck plays, the sequencer plays right along with it. When the tape fast forwards to a new location and begins to play, the sequencer will jump ahead to precisely the same location and begin playing, too. Synchronization allows you to freely move about in a piece of music without ever losing the lockup between the tape and the sequencer. Without synchronization, devices with independent time bases, no matter how precisely they keep time, will inevitably drift apart from one another over time.
What Is synchronization?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 What is SMPTE? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Two forms of SMPTE: LTC versus VITC. . . . . . . . . . . . . . . . . . . . . . . . 140 What is LTC? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 What is VITC? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 The benets of VITC over LTC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Should I use LTC or VITC? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Frame rates. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 What is drop frame?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Why does drop frame exist?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Should I use drop frame?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 How does SMPTE synchronization work? . . . . . . . . . . . . . . . . . . . 144 How does a MOTU synchronizer work?. . . . . . . . . . . . . . . . . . . . . . 144 What is MIDI Time Code? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Locking a MOTU interface to SMPTE . . . . . . . . . . . . . . . . . . . . . . . . 145
WHAT IS SMPTE?
The word SMPTE is an acronym for the Society of Motion Picture and Television Engineers. In the mid 1970s, the society established a timing standard, called SMPTE time code, that is now an international standard. SMPTE time code, commonly referred to as just SMPTE, was
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developed for lm and video work but has proven to be very useful in normal audio work as well. It is an absolute time code, expressing hours, minutes, seconds and divisions of a second in digital form. Because of its accuracy and wide-spread acceptance, SMPTE is the most powerful of the time code formats that are used in audio production.
WHAT IS LTC?
Longitudinal Time Code (LTC) is the audio form of SMPTE Time Code. LTC consists of an audio signal that oscillates between two frequencies (approximately 2 and 4 kHz) to form an 80-bit word of 1s and 0s for each frame on the tape. The 80 bits in each SMPTE frame describe, in binary form (1s and 0s), the location of that frame in hours, minutes, seconds, and frames.
TWO FORMS OF SMPTE: LTC VERSUS VITC

SMPTE time code consists of a series of binary impulses that are recorded onto each frame on lm or video tape, or continuously on audio tape. These binary impulses count each frame, expressing its location in hours, minutes, seconds, and frames. SMPTE has two forms: 1. an audio signal, called Longitudinal Time Code (LTC), or 2. a video signal recorded in the vertical blanking segment of video frames, called Vertical Interval Time Code (VITC)
WHAT IS VITC?
Vertical Interval Time Code (VITC, pronounced Vit-see) is SMPTE time code that is encoded in the video signal in the vertical blanking segment at the top edge of each frame. A video signal consists of 525 scan lines, which the rotating heads of a VTR scan as the tape rolls past them. The rst couple dozen of the scan lines at the edge of each frame are blank; they do not contain any part of the video picture. VITC is recorded on several of these blank scan lines.
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APPENDIX B: SMPTE SYNCHRONIZATION BASICS
You can actually see VITC in the vertical blanking segment portion of a video picture by adjusting the vertical hold on a video screen. The 90-bit binary VITC signal appears as a series of white dots in the black strip between the top and bottom of the picture. VITC is part of the video signal; it does not have its own track on the video tape. It is therefore not possible to stripe VITC by itself onto video tape. VITC can only be recorded at the same time as the video picture.
The MOTU Digital Timepiece is an affordable VITC synchronizer and video character generator. It is both an LTC and VITC synchronizer, so the distinction between LTC and VITC becomes important. So, if you are used to saying SMPTE, ask yourself What type of SMPTE? LTC or VITC? This will help prevent confusion as you work with the Digital Timepiece. The primary advantage that VITC has over LTC is that synchronization can be achieved at very slow tape speeds even when shuttling the video tape backwards or forwards one frame at a time. VITC allows for this because it is part of the video signal, which is continuously scanned by the VTRs rotating heads even when the tape is stopped. LTC cannot be read at slow tape speeds because it is an audio signal in one of the audio tracks, which can only be read when the tape is moving at a constant speed. Another benet of VITC is that it does not eat up any audio tracks.
THE BENEFITS OF VITC OVER LTC

Of the two forms of SMPTE time code, LTC has become much more widely used as a synchronization standard in the audio production industry because VITC synchronizers in the past have been extremely expensive. So, the term SMPTE or SMPTE time code has become a common expression for LTC in recording studios, postproduction houses, MIDI hardware and software manuals, and so on.
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SHOULD I USE LTC OR VITC?

Since VITC only works with video, you must use LTC for synchronizing a multi-track tape deck. But dont fret: LTC is affordable and more than adequate for tape synchronization. If you compose music for lm or video, you too can use LTC. We strongly recommend, however, that you consider VITC because of the benets noted above. Contact MOTU for more information about the Digital Timepiece.
WHAT IS DROP FRAME?

Drop Frame SMPTE time code counts frames at a rate of 29.97 frames per second but skips two frame numbers at the beginning of each minute, except every 10th minute. When the time code display reaches HH:MM:59:29 (59 seconds and 29 frames at the end of each minute), the frame count skips 00 and 01 and jumps ahead to HH:MM:00:02. This jump does not happen at minutes 00, 10, 20, 30, 40, and 50. Thus, frame numbers such as 11:14:00:00 and 11:14:00:01 do not exist in Drop Frame: the display will show a frame at 11:13:59:29 and the next frame at 11:14:00:02. However, frame numbers at each tenth minute will not be skipped, such as from 11:19:59:29 to 11:20:00:00, followed by 11:20:00:01 and 11:20:00:02, etc. Keep in mind that only numbers are skipped, not actual frames of the picture. In other words, every picture frame gets a frame number and the numbers skip every once in a while.
FRAME RATES
In either form (LTC or VITC), SMPTE time code has several basic formats for counting frames per second (fps): 24, 25, 29.97 non-drop, 29.97 drop-frame, and 30. 24 is the standard frame rate for lm in the US; 25 is the European format for lm; 30 is the US standard for audio; and 29.97 drop and non-drop are used for video. Drop frame, explained in detail in the next section, allows SMPTE time code numbers to precisely match the actual elapsed time.
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WHY DOES DROP FRAME EXIST?

Video was rst introduced in black and white and it ran at exactly 30 frames per second. Years later, color video was developed. The Drop Frame format was developed to compensate for an accumulating timing error in color video, which runs slightly slower than black and white video. Color video frames actually run at a rate of 29.97 frames per second, which is slightly slower than exactly 30 frames per second. Over a period of time, this difference causes the time code that is counting the frames to fall behind actual elapsed time. For example, lets say our video program is 60 minutes long. When shown in black and white video at exactly 30 frames per second, it will be precisely 60 minutes long. In addition, the time code that counts the frames will show 01:00:00:00 (exactly one hours worth of frames) on the nal frame. So far, so good. Now, if we play a color version of the same program, it actually runs slower at 29.97 frames per second so that the actual elapsed time is 60 minutes and 3.6 seconds! Heres where the discrepancy arises: the time code that counts the
frames shows that one hours worth of frames has gone by, which is 01:00:00:00 on the nal frame. But this does not match the actual elapsed time, which is 01:00:03:18! In broadcast situations, where edits are calculated down to fractions of a second, 3.6 seconds is a long, long timetoo large a degree of inaccuracy. Drop Frame time code xes this problem by skipping ahead every once in a while as it counts color video frames to catch up with actual elapsed time. The result is that over the period of several minutes, the time code matches the actual elapsed time. It is important to note that since frames are dropped only once every minute, Drop Frame time code does not always reect the exact actual elapsed time: it may be up to a 10th of a second faster or slower than actual elapsed time, depending on how recently the last frame number was dropped.
143
SHOULD I USE DROP FRAME?

Use Drop Frame time code only when it is absolutely necessary. Drop Frame is required only with color video projects in which the SMPTE time code numbers must precisely match the actual elapsed time, such as when preparing a television broadcast. Otherwise, we suggest that you use 30 Non-drop time code because of the slight inaccuracy mentioned above, as well as the confusion that drop frame can cause.
Certain phrases are often used to describe synchronization. The tape deck to which the MIDI device is synchronized is called the synchronization master; the MIDI device, which follows, is called the slave. The MIDI device is slaved to the master. The converter, which reads the time code on tape, is locked to tape, or when using SMPTE time code, locked to SMPTE.
HOW DOES A MOTU SYNCHRONIZER WORK?

The MOTU MIDI Express XT and micro express interfaces function as a SMPTE-to-MIDI converter. When they receive SMPTE time code, they convert that signal into MIDI Time Code, which is then sent to MIDI devices connected to the network. These devices, in turn, slave to the MIDI Time Code.
HOW DOES SMPTE SYNCHRONIZATION WORK?

The syncing process is straightforward. It involves one device following another. As you play back a tape with SMPTE time code on it, the SMPTE feeds into a hardware device called a SMPTE-to-MIDI converter. The converter translates the SMPTE audio signal into MIDI Time Code and sends the MIDI Time Code to a MIDI device such as a sequencer. The MIDI device receives the time code and adjusts its playback position to match the time code. All of this happens very quickly, around 30 times per second, which is fast enough so that the MIDI device follows the tape smoothly.
WHAT IS MIDI TIME CODE?

MIDI Time Code is time code in the form of MIDI data that matches the format of SMPTE time code: time is expressed in hours, minutes, seconds, and frames. Your MOTU Express interface can send MIDI Time Code over MIDI to a sequencer, which follows the MIDI Time Code.
144
LOCKING A MOTU INTERFACE TO SMPTE

In order to sync your MIDI device to tape, you must rst successfully lock your MOTU Express interface to the SMPTE on the tape. To do so, you need to: 1. Stripe a tape with SMPTE 2. Connect the MOTU Express interface to the tape deck 3. Prepare the MOTU Express interface to convert SMPTE 4. Roll the tape to see if successful SMPTE lockup has been achieved These steps are discussed in chapter 8, Synchronization (page 113). Once lockup has been achieved, you can stop the tape, set up your MIDI hardware or software, and then slave it to your MOTU Express interface.
145
146
APPENDIX C
Troubleshooting and Customer Support

for a moment, and then turn them back on again. Always return to the simplest possible scenario if you just cant seem to get to the bottom of the problem. Starting from the ground up usually either corrects the problem or gives you valuable insight into how to solve it. My MOTU interface will not sync to SMPTE. Make sure that the SMPTE IN cable is rmly seated and connected to the appropriate output on the tape deck. Observe the LTC LOCK light. Is it ickering quickly and steadily? If so, the MOTU interface is locked to tape and the syncing problem is probably related to MIDI. If not, check the level of the SMPTE: it should be approximately 3 VU; then, try boosting or attenuating the SMPTE signal from the tape. You may even want to try recording some fresh SMPTE and locking to it. The SMPTE counter just sits there when my MOTU interface is syncing to SMPTE, even when its LTC LOCK LED shows that it seems to be locked up just ne. This most likely means that MTC (MIDI Time Code) is not being routed to the computer. Check the Routings tab (or the Device Settings and Routings window under OS 9)
COMMON PROBLEMS AND SOLUTIONS

My MOTU USB interface just wont show up in Audio MIDI Setup (or FreeMIDI or OMS under OS 9), no matter what I do. If its not an obvious problem like cables or power, do a fresh install of the latest Express interface driver installer downloaded from www.motu.com. If this doesnt work, and you are operating under Mac OS 9, try a fresh install of FreeMIDI (and OMS, if you are using it). ClockWorks keeps displaying a message saying that communication with my MOTU interface has been disrupted, even though the interface is connected. If the problem is not simply that your MOTU interface is switched off or has a loose cable, it may be that communication between ClockWorks and your MOTU interface has been disrupted somehow. If you have a drum machine or sequencer connected to it, be sure that it is not sending MIDI sync to the Express interface. If so, turn off the drum machine while launching the ClockWorks and then mute real time data on its input cable. To reestablish the connection between ClockWorks and interface, switch off all MOTU interfaces, quit ClockWorks, let the boxes sit
147
in ClockWorks to make sure there is a connection between the MTC port in the left-hand column and the computer port in the right-hand column. My MIDI software wont sync to tape via my MOTU interface. Make sure that the interface is slaved to SMPTE rst by opening ClockWorks to see if you get a running update of time code while tape is running. As long as the SMPTE display shows that the interface is successfully locking to the SMPTE and generating MIDI Time Code, MIDI software should also be able to lock to the MIDI Time Code. When I play notes from my MIDI controller, the notes sound funny/chopped off/phased/etc. OR I run out of voices sooner than I should on my sound sources. This means that you are probably routing data to the sound source twice by accident, either via the Auto Patch Thru feature in your host MIDI software, or via a routing you were not aware of in ClockWorks. To solve the problem, try to identify from where the extra routing is coming. For example, switching off the computer will tell
you if its the culprit or not. The Routings tab in ClockWorks (or the Device Settings & Routing window under OS 9) is also a good place to hunt for a problem.
TROUBLESHOOTING
Troubleshooting is always simplest and most effective when the exact problem can be specied clearly and concisely. If you are surprised by an error message or by seemingly erratic behavior in the console or network, take a moment to jot down the relevant details: exactly what the error message said (including any error ID numbers), what actions were done on-screen just before the problem occurred, what kind of le you were working with, how you recovered from the problem, and any unusual conditions during the occurrence of the problem. This may not enable you to solve the problem at once, but will greatly aid in isolating the problem should it reoccur. If the problem you are encountering seems inconsistent, try to determine what the necessary pattern of actions is that will cause it to occur. Genuine bugs in application software like the ClockWorks are almost always consistent in their manifestation: the same set of actions under the
148
APPENDIX C: TROUBLESHOOTING AND CUSTOMER SUPPORT
same conditions invariably brings about the same results. Determining the exact cause of a bug often requires experiments which replicate the problem situation with one factor changed.
TECHNICAL SUPPORT
Registered users who are unable, with their dealers help, to solve problems they encounter with the their MOTU interface may contact our technical support department in one of the following ways:
Tech support phone (9 am to 6 pm EST): (617) 5763066
CUSTOMER SUPPORT
We are happy to provide customer support to our registered users. If you havent already done so, please take a moment to complete the registration card in the front of the manual and send it in to us. When we receive your card, youll be placed on our mailing list for free software updates and other information.
Tech support fax: (617) 354-3068 Tech support email: techsupport@motu.com On-line tech support database: www.motu.com
REPLACING DISKS
If your MOTU USB software CD becomes damaged or lost, our Customer Support Department will be glad to replace it. Or you can download the latest version of the drivers and consoles from www.motu.com.
If you decide to call, please have your MOTU interface manual at hand, and be prepared to provide the following information to help us solve your problem as quickly as possible:
The serial number of your MOTU interface. This is printed on the bottom of the unit. You must be able to supply this number to receive technical support.
The version of ClockWorks you are working with.
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A brief explanation of the problem, including the exact sequence of actions which cause it, and the contents of any error messages which appear on the screen. It is often very helpful to have brief written notes to which to refer. The version of the system software you are using to run the computer.
improved versions of our products. We thank them; many of those ideas have been addressed in our development efforts. If you have features or ideas you would like to see implemented, wed like to hear from you. Please write to the MIDI Interface Development Team, Mark of the Unicorn Inc., 1280 Massachusetts Avenue, Cambridge, MA 02138. Although we do not announce release dates and features of new products or versions of our software in advance, we will notify all registered users immediately by mail as soon as new releases become available. If you move from the address indicated on your registration card, please send us a note with your change of address so that we can keep you informed of future upgrades and releases.
Were not able to solve every problem immediately, but a quick call to us may yield a suggestion for a problem which you might otherwise spend hours trying to track down. Our technical support telephone line is dedicated to helping registered users solve their problems quickly. In the past, many people have also taken the time to write to us with their comments, criticism and suggestions for
150
APPENDIX D
FreeMIDI and OMS

Regardless of what you decide, youll need to congure FreeMIDI and/or OMS for your new MOTU USB MIDI interface. Refer to the section below that applies to you.
FreeMIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 OMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 FreeMIDI and OMS separately . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 OMS, with FreeMIDI using OMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
FREEMIDI OR OMS?
FreeMIDI and OMS are industry standard MIDI System Extensions for Mac OS. They allow MIDI software to talk to your MOTU interface and the devices connected to it. FreeMIDI is included in your MOTU USB interface software installation. OMS is available as a free web download at www.opcode.com. Which one should you use? If you are not sure, the table below can help you decide:
If you use this
MOTU software only Non-MOTU, OMS-compatible software only Both MOTU and OMS-compatible software, running separately Both MOTU and OMS-compatible software, running together
Choose this
FreeMIDI only OMS only FreeMIDI and OMS separately OMS, with FreeMIDI using OMS
151
FREEMIDI
For existing FreeMIDI users If youre adding a new MOTU interface to a USB-equipped Mac that already has FreeMIDI installed, be sure to run the MOTU USB MIDI software installer as described at the beginning of this chapter to update FreeMIDI. Then simply run FreeMIDI Setup. Your new MOTU USB interface will automatically appear in your current FreeMIDI conguration. If it doesnt, make sure its turned on and check cables. For new FreeMIDI users If you havent previously installed and used FreeMIDI on your Macintosh, follow this simple procedure: 1 Make sure that your MOTU interface is connected and powered up. 2 Locate the FreeMIDI Setup program on you hard drive. During installation, it is placed in the FreeMIDI Applications folder on the top level of your hard drive.
3 Double-click the FreeMIDI Setup application icon to launch the program. 4 If this is the very rst time youve run a FreeMIDI program on this computer, and you happen to have OMS installed in the computer, youll see the dialog below.
5 Since this is the procedure for using FreeMIDI, click the FreeMIDI button. After the initial splash screen, the Welcome to FreeMIDI dialog box appears as shown below.
152
APPENDIX D: FREEMIDI AND OMS
7 Click Continue again and youll see the Quick Setup window below. You should see your MOTU USB MIDI interface in the list on the right-hand side.
6 Click Continue. The About Quick Setup dialog appears.

Figure D-1: You should see your MOTU interface by name in the list on the right.
8 If you are in a hurry, you can just click Done and proceed to the next section, Saving the FreeMIDI Conguration.
153
the other designation for now. You can rename the device in the next step. When you are nished with the Quick Setup window, click Done, and the FreeMIDI Conguration window appears.
Figure D-2: An example of a bare-bones FreeMIDI Conguration with a MIDI Express XT in this example. This is the minimum setup you need to run ClockWorks and other FreeMIDI software with your MOTU interface.
9 If, however, you would like your MOTU MIDI software programs to display the names of the MIDI devices connected to your MIDI interface, you can use the Quick Setup dialog in Figure D-1 to identify them by their manufacturer and model names. If you cant nd one of your devices by name in the pop-up menu lists, just use
Figure D-3: A FreeMIDI Conguration window with MIDI devices. Click a device name to change it. The devices here appear automatically in various ClockWorks windows. To add a device, use the Create Device or Quick Setup commands in the Conguration menu. To delete a device, click it and press the delete key.
154
If you indicated what devices are connected to your MOTU interface, your conguration will look something like Figure D-3 after you position the MIDI device icons as desired. Saving the FreeMIDI Conguration Once you have a FreeMIDI conguration, youll want to save it to disk so that you dont have to congure FreeMIDI for your studio again. To save your conguration: 1 Choose Save from the File menu. Alternately, you can type command-S on your Mac keyboard. A standard Macintosh File Save dialog box opens. 2 Use the suggested name FreeMIDI Conguration or enter another name for your conguration, if you like. Use the directory pop-up menu to navigate to a disk and folder in which you wish to save this conguration. Click Save or click Cancel to cancel the operation.
Quitting FreeMIDI Setup Once youve saved your conguration le, you are now ready to use the ClockWorks. You do not need keep FreeMIDI Setup open. The only time you need to open FreeMIDI Setup is when you would like to make changes to your FreeMIDI studio conguration. You can re-open FreeMIDI Setup at any time. Learning more about FreeMIDI This chapter only covered FreeMIDI bare essentials to get your MOTU interface running. If you have Performer, Digital Performer, Mosaic, FreeStyle, or Unisyn, consult their manuals to learn more about the many other great FreeMIDI features that support these programs.
155
OMS
The software installation for your MOTU USB MIDI interface (described at the beginning of this chapter) detects OMS if it is present in your system and places the MOTU USB OMS driver in the appropriate place. To activate your MOTU interface in OMS, follow this simple procedure: 1 Launch OMS Setup. 2 If this is the rst time youve run OMS Setup, follow the directions it gives you to successfully create a studio setup. 3 From the Studio menu, choose MIDI cards & interfaces. Youll see the following alert.
4 Click Update Setup. Youll see the following dialog.
5 Click Search.
On a USB Macintosh, you dont need to check either of the serial port check boxes in this window because your MOTU USB interface is not connected to a serial port.
156
Your MOTU Interface will appear in your Studio Setup window, as demonstrated below.
If your MOTU interface does not appear, check power and cables and try again.
Consult the on-line documentation included with OMS for further information about adding devices to your MOTU interface in the Studio Setup window and other related tasks.
FREEMIDI AND OMS SEPARATELY

If you plan to use both FreeMIDI and OMS separately, set up OMS as you normally would (see OMSs included online documentation for assistance) and then follow this procedure for FreeMIDI: 1 Make sure that your MOTU interface is connected and powered up. 2 Locate the FreeMIDI Setup program on you hard drive. During installation, it is placed in the FreeMIDI Applications folder on the top level of your hard drive.
Figure D-4: A MOTU interface in the OMS studio setup window.
6 Save your OMS Setup. 7 Add devices to your OMS interface in OMS Setup.
3 Double-click the FreeMIDI Setup application icon to launch the program. 4 If this is the very rst time youve run a FreeMIDI program on this computer, youll be asked if you want to use FreeMIDI or OMS as shown below.
157
2 Locate the FreeMIDI Setup program on you hard drive. During installation, it is placed in the FreeMIDI Applications folder on the top level of your hard drive. 3 Double-click the FreeMIDI Setup application icon to launch the program. 4 If this is the very rst time youve run a FreeMIDI program on this computer, youll be asked if you want to use FreeMIDI or OMS as shown below.
5 Since this is the procedure for using FreeMIDI separately from OMS, click FreeMIDI. 6 Proceed to Step 6 on page 153 and continue from there to complete the FreeMIDI setup.
OMS, WITH FREEMIDI USING OMS

If you plan to use both FreeMIDI and OMS together, set up OMS as you normally would (see OMSs included on-line documentation for assistance) and then follow this procedure for FreeMIDI: 1 Make sure that your MOTU interface is connected and powered up. 5 Since this is the procedure for OMS with FreeMIDI using OMS, click the OMS button. 6 Go to OMS on page 156 and follow the procedure for using OMS.
158
If you dont see the dialog above when you run FreeMIDI Setup, refer to Toggling FreeMIDIs use of OMS on page 159.
HOW THE MOTU USB MIDI DRIVERS WORK

You dont need to know this, but just in case youre wondering how your FreeMIDI and OMS compatible software actually talks to your MOTU USB interface, the diagram below illustrates how. The FreeMIDI and OMS drivers shown below belong in the FreeMIDI and OMS folders in the System Folder. (The installer puts them there.)
TOGGLING FREEMIDIS USE OF OMS

If you have OMS, you can make FreeMIDI use it or stop using it as follows: 1 Launch FreeMIDI Setup. 2 Choose FreeMIDI Preferences from the File menu. 3 Check or uncheck the OMS option as shown below.
159
FreeMIDI compatible MIDI software FreeMIDI and OMS talk to your MIDI programs.
OMS-compatible MIDI software
The drivers talk to OMS and FreeMIDI.
The system extension talks to the OMS and FreeMIDI drivers.
The hardware talks to the system extension.
Figure D-5: The USB drivers for your MOTU USB interface establish communication between the hardware and your FreeMIDI or OMS compatible software.
160
Index
3rd party software compatibility 8
A Frame Rate 89 Actual

Address Track 133 All Notes Off command 91 Any application option 82 ATR 133 Audio MIDI Setup utility 17 Audio click 14 connecting cables for 14 Audio MIDI Setup 31 Auto-detect input frame rate 46 Auto-detect input frame rate option 46, 85 AutoTech Assistant command 91
B copies of files 61 Backup

Base channel 94
C mapping 74 Channel
before/after muting 39, 77 Channel Mapping window before/after muting 39, 77 Channelizing 40 Check box grid overview of 57 Click connecting click source 14 converting to MIDI 103 decay 50, 104
hints 105 threshold 50 Click input connecting cables for 14 Click to MIDI 48 Click-to-MIDI option 104 Clock mode 42 Internal 42 LTC 42 LTC QuickLok 43 MTC 42 ClockWorks 29-51 basics 56 breaking a connection 34, 67 computer icons 70 Device List window 55 File menu 31 MMC ports 34, 71 naming devices 64 opening 53 troubleshooting 31, 54 where it gets installed 21 working with several interfaces 55 ClockWorks only option 82 Compatibility (software) 8 Computer icons in ClockWorks 70 routing synths to and from 70 Continuous jam sync 120 Controller connecting 10 Convert click to option 104 connecting audio source 14 CoreMIDI
Audio MIDI Setup 17 benefits 17 Cubase 109 Customer support 149
D byte 1/2 options 104 Data

Decay 50, 104 Device List 31, 32 Device List window 55 selecting MTP II's in network 58 Device Settings & Routing window 63 breaking connections 34, 67 computer connections 70 making a connection 33, 65 Digital Performer MIDI inputs/outputs 25 using FreeMIDI sync with 82 using with ClockWorks 82 Direct 1x6 111 Direct Connect mode 111 Disk getting a replacement 149 Drivers explained 159 installing USB drivers 17, 20 Drop Frame 133 explained 142
E FreeMIDI Configuration command 90 Edit

Enable still-frame sensitivity option 85 Event Muting window
161
I N D E X
before/after channel mapping 39, 77 diagram 76 External time code detect 44
F defaults 70 Factory
Factory preset modifying 96 selecting 107, 108 Factory presets Express XT 108 micro express 108 File icon 60 File menu 31 Device List 31, 32 Load Configuration 31 Open 62 Quit 63 Refresh Device 31, 32 Reset to Factory Settings 32 Revert to Saved 61 Save 61 Save As 61 Save Configuration 32 Files 60 opening existing file 62 opening new file 60 Revert to Saved 61 Foot pedal connecting 14 explanation of 98 Foot switch
connecting 14 data options 100 explanation of 98 output assignment 99 overview of how to use 99 sending data with 101 using as click-to-MIDI 103 Frame lock option 44, 84 Frame rate explained 142 menu 43 Frame Rate Setting 43, 80 Frame-locked status indicator 89 Framelocked 44 FreeMIDI Applications Folder 21 Configuration Window 154 extension 21 Folder 21 FreeMIDI Sync 82 FreeMIDI Sync option 82 Quick Setup 153 saving configuration 155 Freewheel Infinite 47 Freewheel _ frames 47 Freewheel _ frames option 47, 86 Freewheeling 115, 120, 134
H Timebase indicator 88 Has

Hex option 104
I freewheel 47 Infinite
Input frame phase lock 44 Input quarter frame phase lock 44 Interface Settings command 90 Internal (clock mode) 42
J status indicator 89 Jam

Jam sync 135 continuous 120
K controller Keyboard
connecting 10
L Keyboards 109 Live

Load Configuration 31 Locate Buttons 42, 79 Locate buttons 42 LOCK light 114 Longitudinal Time Code 118, 140 LTC 118, 135, 140 clock mode 42 output slider 46 QuickLok 43 settings in Sync/MMC window 83
G signal when stopped 46 Generate

Generate signal when stopped option 46, 85
162
I N D E X
LTC Output Level 46, 86
M Macintosh
routing MIDI devices to 70 standard conventions 55 Mappings tab 40 Memory meter 60 Merge All 109 MIDI beat clocks muting 38, 77 channels 68 remapping 74 connections making 63 MIDI Express receive channel 94 MIDI Express Console opening 31 when to use 29 MIDI Machine Control record mode 43 MIDI Machine Control window extra settings 44, 83 MIDI Machine ID 47 MIDI Time Code 135 MIDI time code 114 MIDI Time Piece (original) saving default settings 91 Mini-menu basics 56 MMC
In/Out ports in ClockWorks 34, 71 MMC ID option 47, 86 record mode 43 setting ID of Digital Timepiece 47, 86 MOTU FreeMIDI Driver 21 OMS USB Driver 21 USB Driver 21 MTC 122, 135 clock mode 42 display in ClockWorks 41 MTC in/out icons in ClockWorks 34, 70 settings in Sync/MMC window 83 MTC sync mode and sending MTC from computer 122 Muting before/after channel remapping 39, 77 Mutings tab 37
Output level 118 Output phase lock 44
P list 7 Packing
Pedal 97 decay 50, 104 Pedal A 14 Pedal B/LRC 14 threshold 50 Pedal off option 101 Pedal tab 48 Pedal window 97 basics 48, 97 saving settings 97 Pedals type 48 Performer 109 look and feel 56 MIDI inputs/outputs 25 slaving to a click 103 using FreeMIDI Sync with 82 using with ClockWorks 82 Polarity 48 Positive polarity 48 Presets factory presets 108 getting an overview of 93 modifying 96 renaming user presets 93 script 93 selecting a factory preset 107, 108 selecting in Presets window 93
N Naming
Files 61 Needs Timebase indicator 88 Negative polarity 48 NETWORK serial port syncing a device connected to 115 Noise reduction with SMPTE 118
O 21, 151, 156, 157, 159 OMS

One time jam sync option 86 Open 62
163
I N D E X
setting receive channel 94 switching using a controller/sequencer
94
user presets 107, 112 Presets tab 36 Presets window 92
Q Setup 153 Quick

Quitting Performer 62
R data 38 Real-time
Receive channel 94 Rechannelizing 74 Record (MMC mode) 43 Record setting 43, 82 Reestablish communication command 91 Refresh Device 31, 32 Rehearse 43 Rehearse mode 43, 81 Remapping 40 Reset to Factory Settings 32 Reshaping time code 121 Revert to Saved 61 ROM obtaining version number 59 ROM version 32 Routings tab 33
S 43 Safe
Safe option in MMC window 43, 81
Save 60 Save As 61 Save Configuration 32 Save MTP 1 Default command 91 Select command 90 Send Data To command 91 Sequencer 32ch 109 Sequencer 96ch 109 Sequencing using the Express MIDI ports 26 SMPTE bleedthrough 119 connections 12 display 41, 79 display in ClockWorks 41, 79 drop-outs 115 explained 139-145 frame rate setting 43, 80 freewheeling 115 global offset for Digital Timepiece 41, 79 how to type in a SMPTE time 80 LTC output level 46, 86 noise reduction 118 output level 118 regenerating over dropouts 120 reshaping 121 synchronization 113 user bits 121 SMPTE Reader troubleshooting 147 SMPTE Reader window status display 87 Software compatibility 8 Sound module
connecting 10 Status option 104 Still-frame sensitivity 46 Stop button (SMPTE Controls window) 118 Stripe button 118 Sync tab 41 settings 44 Synchronization defined 139 System exclusive bulk dumps installing for 10 System requirements 7
T light 114 TACH

Technical support 149 Tempo map recording into a sequencer 103 Third-party software compatibility 8 Threshold 50, 104 Time Base setting 80 Time code display in ClockWorks 41 freewheeling over dropouts 115 LTC output level 46, 86 Timebase measure 89 Transport controls 41, 79 Troubleshooting 147-150 ClockWorks 31, 54 SMPTE lockup 115 syncing to discontinuous time code 45,
85
164
I N D E X
using the Merge All preset 110
Recording options 82
U USB
connecting multiple interfaces 15 connecting USB interface 9 drivers explained 159 installing drivers 17, 20 using a USB hub 15 User bits 121 User preset modifying 96 User presets 107, 112 Utilities menu All Notes Off 91 AutoTech Assistant 91 Edit FreeMIDI Configuration 90 Interface Settings 90 Reestablish communication 91 Select 90 Send Data To 91 Set MTP1 Default 91 Verify Network 90
W Windows
basic knowledge is required 8 Windows menu Memory meter 60 Pedal window 97 using 56 Windows Express multimedia extensions ports 26
V Network command 90 Verify

Vertical Interval Time Code 140 Virus utilities 20 Vision 109 VITC 140 generating time code when paused 46, 85 still-frame sensitivity 46, 85 VTR
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User Guide

MIDI Express XT MIDI Express 128 micro express micro lite

Mark of the Unicorn, Inc.

SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS

3-prong plug Grounding prong Properly grounded 3-prong outlet

Two-prong receptacle Adapter

Mark of the Unicorn License Agreement and Limited Warranty on Software

Limited Warranty on Hardware

Part II: For XT & micro Users

Part III: Appendices

Part I For All Users

Packing List and Computer Requirements

THANK YOU FOR CHOOSING MOTU

PLEASE REGISTER TODAY

MIDI CABLES NOT INCLUDED

MIDI SOFTWARE COMPATIBILITY

VISIT MOTU.COM FOR SOFTWARE UPDATES

FAMILIARITY WITH YOUR COMPUTER

Installing Your MOTU Interface

CONNECTING THE POWER CORD

You can use any available Type A jack.

CONNECTING THE COMPUTER

CONNECTING MIDI GEAR

MIDI CONNECTIONS WORKSHEET

MOTU MIDI interface rear panel

MIDI OUT MIDI IN

SMPTE TIME CODE SYNC CONNECTIONS

Analog audio tape recorder

Video tape recorder

MOTU MIDI Interface SMPTE IN

Figure 2-5: Connecting a SMPTE time code source.

MOTU MIDI Interface SMPTE OUT

Shielded, quarter-inch audio cable

Figure 2-6: Connecting a SMPTE time code destination.

CONNECTING A FOOT SWITCH

CONNECTING AN AUDIO CLICK SOURCE

Figure 2-7: Connecting a foot switch or foot pedal.

Figure 2-8: Connecting an audio click input.

CONNECTING MULTIPLE USB INTERFACES

Standard USB Hub

Installing the MOTU USB MIDI Software

SOFTWARE INSTALLATION FOR MAC OS X

Figure 3-2: Adding a MIDI device.

Figure 3-4: Device settings.

Figure 3-3: Connecting the device to the interface.

SOFTWARE INSTALLATION FOR MAC OS 9

DAISY-CHAINING MIDI DEVICES

FreeMIDI Applications Folder

OUT USB cable MOTU USB MIDI interface IN

IN THRU IN THRU IN THRU

Using MIDI Software

MIDI INPUTS AND OUTPUTS

ALL CABLES PORT

THE MIDI DATA PATH

Part II For XT & micro Users

ClockWorks For Mac OS X

Sync and MIDI Machine Control section

THE FILE MENU

THE DEVICE LIST

THE CLOCKWORKS WINDOW

THE ROUTINGS TAB

THE PRESETS TAB

Figure 5-4: The Presets tab.